HillTop Records Songwriters of America

The Newest, Coolest Music Apps

2012-01-25T15:51:00.000-08:00

Since the dawn of the recording industry, technology has played a key role in the listening (and creation) of music. So it should come as no surprise that the industry--just like any other in today's world--is going mobile. At the recent NAMM music products trade show at the Anaheim Convention Center in Orange County, California musicians and software developers came out to promote new inventions pertinent to the music world. Among these inventions were an exciting number of apps designed to turn your iPhones, iPads and other tablets into so much more than playback devices.

Yamaha Corporation of America introduced four new apps for the iPad, several of which also work on the iPhone: NoteStar is a free app that allows musicians to play along with songs (while the app itself is free, each song costs $3.99 and comes with accompanying band music, vocals and sheet music); Song Chords helps musicians learn new chords and augment existing chords with new chords by interacting with midi keyboards and providing chords and a chord dictionary right on the iPad's screen--like NoteStar, it is free but there is a fee per song; Piano Diary uses midi technology and allows users to play, record and share (via YouTube) keyboard performances; Page Turner, true to its name, automatically turns the onscreen page for you when your iPad is connected to a Yamaha keyboard.

Another app with a page turner, The Gig Easy, features its own foot pedal so that you can control the turning as you play. It also allows the musician to write their own notes on the onscreen page, just like they would on paper sheet music.

Jammit, meanwhile, now offers an app specially designed for those interested in learning and playing along with today's most popular songs. The free app (per-song fees vary) allows users to isolate specific tracks (ie. guitar, keyboard, drums or vocals) and even lets you loop specific sections of the track, or slow them down (a great trick for learning faster guitar riffs.)

The NAMM convention also introduced the industry to AmpKit, a new iPad app available through Agile Partners. It lets a guitarist emulate the sounds of various amplifiers, virtually taking cumbersome recording equipment out of the studio. Unlike the apps previously mentioned, this one isn't free; its cost depends on the variety of plug-ins and hardware the user chooses to add.

These and other exciting apps new to the market are building upon technology we already have at our fingertips. If you have any sort of tablet or smartphone, we recommend that you do a quick search through your app marketplace for the latest developments. To get you started, here are some great mobile device apps for musicians, songwriters and music enthusiasts:

Shazam
Like having the ultimate music expert in your pocket, Shazam can identify a song within seconds. The user simply presses a button while listening to a song, and Shazam responds by offering the song title and artist. The app can also store your tagged songs for you, and gives the option to purchase it immediately on iTunes. You can share tagged songs via Facebook and Twitter, and even access Shazam's music charts to find new music--all completely free of charge.

Pandora Radio
This must-have app is the mobile version of Pandora, the groundbreaking Internet radio program that allows you to build your own online stations based on songs you like (and don't like.) You can customize multiple stations according to genre or artist, and edit on-the-go via a very user-friendly mobile display. The basic Pandora app is free; there is also an upgraded (read: commercial-free) version available for a monthly fee.

HT Professional Recorder
Any songwriter, musician, poet, public speaker or student with a smartphone can benefit from this app. Not only does the HT Professional Recorder allow you to record ideas, soundbites and entire lectures with the click of a button, it also organizes those files for you into a very user-friendly library. The app also has email, Wi-Fi options and several premium audio recording modes (including ones that let you record from varying distances) so that you are never left hanging when inspiration strikes.

ClearTune
An extremely responsive fine-tuning meter, ClearTune is vastly comprehensive yet easy to use. It utilizes the built-in microphone on a standard iPhone, and it offers support for custom temperaments, notations like solfège, transposition, and adjustable calibration.

Rhyme Time
Here's a simple app that does just what its name implies: provides an extensive, easy-to-use rhyming dictionary on your mobile device. It is definitely a helpful tool for songwriters and poets.

ThumbJam
Mastered air guitar? Consider this the next step up. This fun app lets you pick an instrument, complete with all necessary scales, and jam--even if you've never taken so much as a single lesson. And what's more, you'll actually sound like you know what you're doing. If you do know what you're doing, you can use ThumbJam in a more ambitious capacity: Tilt and shake to add vibrato, tremolo, note bends, volume swells, etc. The app was designed to sound just like the real thing, whether that be a Djembe drum or a string ensemble. You can build your own loops, import songs, layer, whatever--and then export the results as audio files. ThumbJam even lets you connect with other users via Bluetooth, so that you can jam with your friends.

Ocarina
A fun and interesting app built around your smartphone's microphone, Ocarina allows you to create music in a unique way. You can blow into your microphone or manually press holes to make sound, hold down combinations of holes to change pitch, tilt your phone to change vibrato rate and depth, and even change keys and modes. Then automatically record, archive and play back songs. Tap the globe icon, and you can hear other Ocarina players from around the world!

Guitar Toolkit
An all-in-one bundle specially designed for the guitarist, this app has everything you need to get started--a tuner, scales, a metronome, and a gigantic chord library.

Pocket Guitar
For the times you wish you could take your instrument with you but can't, Pocket Guitar offers a solution. The app offers 6 different types of guitars to play on (Acoustic-Electric, Classical, Electric, Electric Bass, Muted, and Ukulele) as well as built-in effects including Delay and Distortion, and Chorus.
Haven't seen what you're looking for yet? You can also browse AppsForSongwriters.com for eBooks and other informative apps, all available for instant downloading today. And remember to keep checking back with us at HillTop Records as we bring you the latest music industry news!

SOPA: What It Is, and Why It Matters

2012-01-18T14:18:00.000-08:00

If you've been on the Web today--and you obviously have, because you are reading this blog--you may have noticed that a few things are missing: The colorful, ubiquitous Google logo has been blacked out on the search engine's home page, and even complete websites (including such widely used, community-driven information portals as Wikipedia, Reddit and Craigslist) have been taken down for the day. The day--today, January 18th 2012--may go down in history for marking the first-ever mass government protest conducted online. Companies and individuals have stationed virtual picket signs to vocalize their opposition to a pair of newly proposed bills: SOPA (the Stop Online Piracy Act) and its similar counterpart, PIPA (Protect IP Act.) Oddly enough, major media outlets--including local and national news stations on ABC, CBS, Fox News, MSNBC, and NBC networks--have refused to participate in the debate, which should have begun when the bills were first introduced in October. Since then, these networks have devoted a sum total of zero time during prime evening newscasts to this issue. Their silence has led to the Internet becoming the sole platform for the discussion--which is certainly appropriate, given the issues at hand.

We at HillTop Records strive to keep our readers informed on all current issues pertaining to the music industry. SOPA, which was primarily constructed to protect the interests of copyright holders on the Internet, could drastically effect the way music is purchased and traded online--and we'd like you to have all the facts. What follows is a break-down of the controversial Act, including the reasons why so many people are for and against it.

First: What exactly is SOPA?
The Stop Online Piracy Act was proposed to address the issues of copyright infringement on the Internet by restricting access to sites that host or facilitate the trading of pirated content. Copyright infringement is of course already illegal in the United States, and the 1998 Digital Millennium Copyright Act lays out enforcement measures; however, it is no secret that these measures are rarely carried out. Despite a few significant wins for the legislation (remember Napster?), little headway has been made in the battle against piracy. The problem with the 1998 Act is that the U.S. Government has no legal jurisdiction when it comes to websites whose physical address is outside of the country--and these days, the majority of pirated content is being imported.

Take, for example, The Pirate Bay. Just like its name indicates, the website offers a treasure trove of illegal downloads--from hit TV shows to blockbuster movies, even before commercial release. If the website was based in the U.S., it would have been shut down years ago. However, because its servers are physically located in Sweden, the government cannot regulate it. So how to stop "rogue" sites like these, based in foreign countries, from distributing pirated material in America? Well, SOPA tackles the problem by taking U.S. government authority up the chain--to the American sites that facilitate access to these pirating sites. By holding U.S. search engines, advertising networks and other providers (including payment processors, like PayPal) accountable for the content displayed on sites it links to, SOPA hopes to limit access to pirated material.

Both sides of the issue--those pro-SOPA, and those against it--agree that piracy is a serious issue, and that the protection of intellectual (and other types of) property is a worthy goal. However, the debate over whether or not SOPA is the right step to take is becoming increasingly heated.

The Aruguments Against SOPA
The logic behind SOPA is that if Americans cannot find these rogue websites via trusted search engines, or conveniently pay for pirated material online, they won't use them. And that makes sense, right? It also makes sense that someone be held accountable for transporting foreign-manufactured pirated material into the United States. Since Congress can't legislate servers overseas, it must target the websites it can. These websites include online encyclopedias like Wikipedia, ecommerce sites like eBay and Craigslist, and social networking sites like Twitter, Facebook, and Myspace. These websites, as well as many others across the country, have joined forces with powerful figureheads on both sides of the political spectrum (including Rep. Ron Paul, Rep. Nancy Pelosi, and Al Gore) to denounce the bill. They reason that SOPA intends to regulate the flow of information, thereby violating the public's First Amendment Rights (to date, the U.S. is only one of seven countries that does not regulate the Internet.) They also argue against the bill's broad scope, saying that it puts further limitations than what is necessary to combat sites peddling counterfeit goods. Additionally, the tech world criticizes the bill for its crudely ineffectual tactics; they argue that those behind SOPA do not understand the fundamental architecture of the Internet--and therefore do not understand the bill's possible repercussions.

Silicon Valley's main argument against SOPA comes, however, from an economic standpoint. Most websites--even some of the most major--do not generate enough income to employ the manpower it would cost to enforce the bill's stringent content regulations. Take, for example, YouTube: The popular website publishes millions of user-uploaded videos each week. Under the current law, a copyright holder can send a "takedown notice" (aka, a DMCA warning) to YouTube's administration if he or she comes across a song or video that has not been authorized for publication. The website then has to remove the offending content, and is protected against liability as long as it complies within a reasonable timeframe. When it gets a DMCA warning, YouTube has to also notify the user who uploaded the content--and that user has the right to file a counter-motion, demonstrating that the content does not infringe on any copyrights. However, SOPA places the burden of proof on the accused--thus doing away with this possible back-and-forth. Under SOPA, the reported song or video must be taken down within five days--with the site operators possibly facing a hefty lawsuit. "YouTube would just go dark immediately," Google public policy director Bob Boorstin said of SOPA's effects at a conference last month. "It couldn't function."

NetCoalition, a very vocal anti-SOPA trade group, has also added that the "legislation systematically favors a copyright owner's intellectual property rights and strips the owners of accused websites of their rights."

The Arguments For SOPA
While the voices backing the bill may not be as loud as the opposition's, they are certainly just as powerful. SOPA's supporters (which include Time Warner and the Motion Picture Association of America) dismiss accusations of censorship, saying that the legislation intends to revamp a broken system that does not adequately protect intellectual property or prevent criminal behavior. However, many who originally supported the bill are now publicly admitting to feelings of skepticism--and today, under the obvious pressures of a Web-wide protest, legislators are proposing revisions and amendments so as to better protect website owners. As originally written, SOPA would have required Internet service providers to completely block access to sites that law officials deemed suspect. However, the White House is now saying that their analysis of the proposed laws "suggests that they pose a real risk to cybersecurity," and that they are attempting to alter the bill so as not to mandate a manipulation of the Internet's technical architecture.

It will most certainly take some time, but there is common ground on the horizon. Government officials plan to revise the bill in February, and several politicians have proposed alternative methods for combating Internet piracy. One thing remains clear: Broadcast and major media companies, record and movie producers, and other copyright holders have reached the end of their rope. They will no longer stand idly by as their intellectual and creative works are bootlegged across the Web. While SOPA may still have a ways to go before it meets with public approval, it is a giant step in the right direction. Keep checking back with us here at HillTop Records as we keep you posted on further developments.

The Best-Selling Albums of 2011

2012-01-11T16:10:00.000-08:00

Songwriters and other music industry professionals rejoice! For the first time since 2004, the US albums market grew annually in 2011. Although CD sales still went down about 6%, the overall number of music sales increased 1.4% to 330.6 million units. These uplifting figures, recently published by Nielsen SoundScan Data, probably reflect a decreasing prevalence of illegal downloads--and that in and of itself is reason to celebrate. In 2011, the digital albums sector rose by 19.5% to 103.1 million units--which means that downloads comprised over 31% of all album sales during the year.

So, who took home top billing in 2011? Here's a quick break-down of the top-selling albums and singles of this past year:

Top 5 Albums in 2011:

1. Adele, "21" (5.82 million)
2. Michael Buble, "Christmas" (2.45 million)
3. Lady Gaga, "Born This Way" (2.1 million)
4. Lil Wayne, "Tha Carter IV" (1.92 million)
5. Jason Aldean, "My Kinda Party" (1.58 million)

Top 5 Digital Songs in 2011:

1. Adele, "Rolling in the Deep" (5.81 million)
2. LMFAO, "Party Rock Anthem" (5.47 million)
3. Katy Perry, "E.T." (4.83 million)
4. Maroon 5, "Moves Like Jagger" (4.11 million)
5. Pitbull, "Give Me Everything" (3.87 million)

And here are some other year-end statistics you may find interesting:

Top 5 Radio Songs (ranked by airplay audience impressions) in 2011:

1. Pitbull Featuring Ne-Yo, Afrojack & Nayer, "Give Me Everything"
2. Adele, "Rolling in the Deep"
3. Katy Perry, "Firework"
4. LMFAO Featuring Lauren Bennett & GoonRock, "Party Rock"
5. Katy Perry Featuring Kanye West, "E.T."

Top 5 Rock Songs in 2011:

1. Foo Fighters, "Rope"
2. Cage The Elephant, "Shake Me Down"
3. Foo Fighters, "Walk"
4. Foster The People "Pumped Up Kicks"
5. Seether, "Country Song"

Top 5 R&B/Hip-Hop Songs in 2011:

1. Miguel, "Sure Thing"
2. Kelly Rowland Featuring Lil Wayne, "Motivation"
3. Chris Brown Featuring Lil Wayne & Busta Rhymes, "Look At Me Now"
4. DJ Khaled Featuring Drake, Rick Ross & Lil Wayne, "I'm On One"
5. Marsha Ambrosius, "Far Away"

Top 5 Country Songs in 2011:

1. Eli Young Band, "Crazy Girl"
2. Jake Owen, "Barefoot Blue Jean Night"
3. Rodney Atkins, "Take A Back Road"
4. Chris Young, "Tomorrow"
5. The Band Perry, "You Lie"

Top 5 Latin Songs in 2011:

1. Prince Royce, "Corazon sin Cara"
2. Don Omar, "Taboo"
3. Fidel Rueda, "Me Encantaria"
4. Don Omar & Lucenzo, "Danza Kuduro"
5. Pitbull Featuring Ne-Yo, Afrojack & Nayer, "Give Me Everything"

To see other rankings by genre--including Jazz, Gospel, Bluegrass and Classical--check out Billboard.com.

Overall digital song sales grew 8.5% in 2011, bringing the total to a record 1.27 billion downloads. Compare that to 2010's then-record of 1.17 billion, and you will agree that this is great news--no matter what musical genre you write. Here at HillTop Records, we are excited for what these numbers may mean. We hope they continue to climb, in 2012 and the years to follow.

Happy 2012! To Celebrate, the Best Music Festivals in January...

2012-01-04T11:00:00.000-08:00

It's the first month of a brand-new year, and with it comes the excitement and promise that only January can have. Here at HillTop Records, we will be celebrating the best way we know how--with music. No matter what part of the country you're in, you will be able to do the same. Here are our picks for the best music festivals for January, 2012:

MusicFest (1/5/2012 - 1/10/2012) in Steamboat, Colorado
The 27th annual MusicFest at Steamboat, one of the country's world-class ski resorts, will feature 40 bands over six days. More than 50 shows will be held in and around a large tent surrounded by spectacular mountain scenery. Each year, the gigantic festival draws thousands of ski- and music-loving folks to the snowy slopes of Colorado. This year's headliners will include Chris Knight, Curtis Grimes, the Randy Rogers Band and other legendary examples of Texas and Americana music.

RiverCity Music Festival (1/6/2012 - 1/8/2012) in Portland, Oregon
At the beginning of each year, Portland's community of Jantzen Beach comes alive with music-lovers and revelers. Billed as less like a concert and more like a party, the RiverCity Music Festival encourages participation. So purchase a ticket, bring your own instrument, and jam with like-minded musicians from around the city of Portland and beyond. The event offers workshops led by national bluegrass artists, as well as acoustic and Americana concerts.

GlobalFEST (1/8/2012) in New York, New York
Known as the springboard festival for world music artists on the brink of North American mainstage success, New York's annual GlobalFest is a great place to discover stars on the rise. From French Gypsy jazz to cumbia-fied downtempo Argentine club sounds, Romanian hybrid blues to Senegalese roots reggae, traditional Irish folk music to Central Asian avant rock, the mix of genres celebrates the globe's diversity.

Cherokee Jazz & Blues Festival (1/13/2012 - 1/14/2012) in Cherokee, Iowa
This annual event is so much more than a music festival. Yes, it has plenty of live jazz and blues. However, it also features a brunch buffet, pub crawls, jam sessions, and a music clinic for high school music students. This year's line-up includes Chad Elliot, the Johnnie Bolin Band, and Damon Dotson.

County Bluegrass Winter Festival (1/13/2012 - 1/14/2012) in Caribou, Maine
This tri-annual bluegrass festival takes place each summer, fall and winter in Maine. The wintertime event takes place indoors, at the Caribou Inn & Convention Center. It includes live concerts, workshops and vendors sure to liven up the dreary days of January.

30A Songwriters Festival (1/13/2012 - 1/15/2012) in Santa Rosa Beach, Florida
We know that this festival is especially exciting to our HillTop Records songwriters, as it celebrates the profession in multiple venues along scenic route 30-A. More than 100 songwriters from across the country are expected to gather to perform on stage and discuss the craft with like-minded professionals.

Martin Luther King Jr. March and Festival (1/16/2012) in Austin, Texas
To commemorate the life and legacy of Dr. Martin Luther King Jr., more than 10,000 people march to the historic campus of Huston-Tillotson University. There, they are welcomed with a lively outdoor festival filled with the sounds of jazz, blues and gospel. Along with live music performed by some of the city's finest artists, the festival features vendors selling everything from craft items to food. There are also free shuttles to the campus available, so you do not need to march if you do not want to.

Anchorage Folk Festival (1/19/2012 - 1/22/2012) in Anchorage, Alaska
Alaska isn't letting the cold winter weather dampen its spirits! Instead, it is celebrating the first month of 2012 with its annual folk festival. The event brings together artists from around the world--singers, dancers, storytellers and group acts in the genres of bluegrass, jazz, Celtic, traditional folk, klezmer and more take to multiple stages over the course of three days. Best of all, the festival's concerts and workshops are all open to the public--completely free of charge.

Guitar Geek Festival (1/20/2012 - 1/21/2012) in Anaheim, California
True to its name, the annual Guitar Geek Festival celebrates all things guitar. It includes live performances, a raffle, and a fun-filled jam session.

The San Francisco Tape Music Festival (1/20/2012 - 1/22/2012) in San Francisco, California
Held each year at San Francisco's ODC Theater, this music festival is a truly one-of-a-kind event. It is the only festival in America dedicated entirely to the performance of audio works projected in three-dimensional space. Held over the course of three evenings, the event celebrates classic audio art and new fixed media compositions by 25 local and international composers. Highlights of this year's installment will include an homage to the 100 years of John Cage, and the commemoration of 163 years of recorded sound.

Blythe Bluegrass Festival (1/20/2012 - 1/22/2012) in Blythe, California
Now in its 19th year, the Blythe Bluegrass Festival is one of the most beloved annual events in the Palo Verde Valley. Along with plenty of live bluegrass, the music festival includes booths and vendors, and the Bluegrass Quilters--a quilt show that is becoming such a highlight that it is almost a festival within a festival.

Ann Arbor Folk Festival (1/27/2012 - 1/28/2012) in Ann Arbor, Michigan
Take the rare opportunity to hear great undiscovered artists over the course of two fun-filled evenings in Ann Arbor. This annual festival celebrates the state's rich folk music heritage by giving the stage to the most promising up-and-coming acts. A few performances by internationally acclaimed headliners are also thrown into the mix each year. Past performers include the Indigo Girls, David Jones, and the Blind Boys of Alabama.

For more information on upcoming music festivals events, check out Festivals.com. And be sure to keep checking back here with us at HillTop Records as we help you fill the year of 2012 with great music!

What's Happening In Music In: Portland, Maine

2011-12-27T13:49:00.000-08:00

A small city in a small state, Portland, Maine has a surprisingly large music scene. It is home to, for one thing, One Longfellow Square--a major concert and promotional venue for folk music. Along with live music and film screenings, the square plays host to the monthly Maine Songwriters Association Showcase and other community events. It serves as a hub of art and culture, in what just may be the cultural hub of Maine.

Portland's premiere genre is undoubtedly folk. Maine has, as a whole, had a long tradition of fiddling and bluegrass. The state celebrates its heritage with a number of annual music festivals including the Eastern Maine Music Festival and the events put on by the Bluegrass Music Association of Maine. The state's most famous bluegrass performers include Clarence and Roland White of the Kentucky Colonels, and Jimmy Cox. Other prominent singer/songwriters who call Maine home include Ellis Paul, Slaid Cleaves, Bruce Thulin, Glenn Jenks, Patty Grivvin and Rod Picott. A wave of newer, Progressive folk artists from the picturesque state included Heather Caston and Nancy Cartonio. The famous folk trio-turned-duo (following the untimely death of Tom Rowe in 2004) Schooner Fare hails from Maine, where the Freewill Folk Society at Bates College keeps the tradition alive. Then there is, of course, One Longfellow Square. There is something happening nearly every night at this beloved institution.

Another of Maine's musical traditions is its long-standing men's a Capella group, the Meddiebempsters, at Bowdoin College. Bowdoin hosts the Bowdoin International Music Festival and the Gamper Festival of Contemporary Music each year. Other music festivals in the state held to highlight Western classical music are the Atlantic Music Festival, the Bay Chamber Concerts in Rockport, the Kneisel Hall Chamber Music Festival, the Salt Bay Chamberfest in Damariscotta, and the Sebago-Long Lake Festival Players. The Manic Optimists, Bates College's all-male singing group, also put on a good show.

Other popular genres in Portland and other parts of Maine include religious music (check out the well-known church choirs of St. Luke's Episcopal Cathedral and the two churches in the Bangor area named after St. John) and jazz. Maine's mid-coast region is actually said to be the center for jazz, as it is home to the Mid-Coast Jazz Society and several important concert venues. Time your trip to coincide with the Maine Festival in Brunswick or the Boothbay Harbor Jazz Festival to enjoy the best of what New England and the rest of the country has to offer. Johnny Smith, the fairly famous jazz musician, grew up in Maine.

Maine's earliest musical celebrity was Supply Belcher (1751-1836), known during his time as "the Handel of Maine." Belcher organized the first choir in Maine during the colonial era, and single-handedly put the state's music scene on the map. His legacy lives on in original songs about Maine and by Maine composers, which are all stored in the Maine Collection at the Bagaduce Music Lending Library in Blue Hill. The library houses over 225,000 separate titles, comprising the largest publicly available sheet music collection in North America. Much of this collection is traditional folk and Western classical music.

Rock and pop music are not as prominent as folk or classical; however, you find nearly every type of music here if you look hard enough. This is, after all, the state that gave us Ray Lamontagne, Howie Day, Rustic Overtones, Sparks The Rescue, Corey Beaulieu, Spose, Jeremiah Freed, the lead guitarist of Trivium and hardcore punk band A Global Threat. For live rock in Portland, try The Station. The city is also the main headquarters for Death Grip Records, an independent record label. Lisbon Falls is the source of liveMainejams.com, a growing online community of local musicians and their fans, and other Maine cities feature great venues: Bangor's got The Underground, in Bucksport is The Kave, and Freeport has The Asylum, The Big Easy, Geno's Rock Club, The Freeport Square Gallery, and L.L. Bean's Discovery Park.

Major music venues in Portland include The State Theater and Merrill Auditorium. There are three professional music theaters in the state of Maine, including the Maine State Music Theater in Brunswick (originally founded in 1959, and still going strong.) The other two are the Ogunguit Playhouse (built in Ogynguit back in 1933) and the new Northport Music Theater, added to Northport in 2007. One especially impressive musical institution in Maine is its Bangor Symphony Orchestra, which is the oldest continually operated symphony in the entire country. The other professional orchestra in Maine is the Portland Symphony Orchestra. Portland is also home to the Portland Choral Arts Society and the Portland String Quartet (the other professional string quartet in Maine is in DaPonte) as well as the Portland Opera Repertory Theatre and OperaMaine. If you like country music, you should consider a visit to the Maine Country Music Association Hall of Fame. The Down East Country Musica Association and the Maine Academy of Country Music are also prominent.

An interesting facet of Portland's music scene is its surprising cultural diversity. Just outside the city, you will find pockets of people who use music to keep the ethnic traditions of their homelands alive in the United States. There is the Swedish music of Stockholm and New Sweden, the festivities of the state's strong French-Maine community (especially so in Upper St. John Valley, the home of the Acadian Festival) and the traditional Russian music being played in Richmond, on the Kennebec River.

There are quite a few resources, online and otherwise, for those looking to find great music in Portland, Maine. One is Hilly Town, the city's premiere showlist and music blog. Factory Portland, The Portland Phoenix and the online homes of Port City Music Hall and SPACE Gallery (an innovative space for contemporary art and music) also offer valuable information on the local scene. Here at HillTop Records, we will also do our best to keep you updated on the latest happenings in Portland, Maine and other great American cities.

Top 10 Christmas Albums for 2011

2011-12-15T15:05:00.000-08:00

What better way to get into the Christmas spirit than with seasonal songs? Grocery stores, shopping malls and commercial radio stations across the United States are just beginning to celebrate the coming season. Join in the holiday fun with HillTop Records' picks for the 10 best Christmas albums this year:

1. The Gift - Susan Boyle
The ultimate 21st-century singing sensation, Susan Boyle, is now topping the Bestsellers list with her new Christmas album. It is full of traditional favorites, and a fantastic addition to your holiday soundtrack.

2. Noel - Josh Groban
Causing women to swoon year-round with his soulful voice, Josh Groban steps it up a notch for Christmastime.

3. Glee: The Music, The Christmas Album
The young and young at heart have fallen in love with Glee. Sing along with the cast as they belt out their own renditions of everything from "O Holy Night" to "Baby, It's Cold Outside".

4. Holiday Spirits - Straight No Chaser
The A Capella group made world-famous by Youtube, Straight No Chaser puts their signature spin on classic holiday favorites.

5. Glory in the Highest: Christmas Songs of Worship
The top Christian Christmas album for 2011, this collection of classics beautifully highlights Chris Tomlin's voice.

6. O Holy Night - Jackie Evancho
The 10-year-old soprano prodigy who made her debut on America's Got Talent, young Jackie Evancho performs "Pie Jesu" and "Panis Angelicus" (two of the songs that made her famous) along with an array of popular holiday songs.

7. Celtic Thunder Christmas - Celtic Thunder
Celtic Thunder has been the number one music show on PBS for six consecutive pledge periods - and with this compilation of Christmas favorites, they show you why.

8. Christmas In Diverse City - tobyMac
Singer-songwriter and rapper tobyMac may not be the first person you would expect to release a Christmas album. However, his first holiday collection--which features his touring band Diverse City and other artists across multiple genres--is a pleasant surprise, and a great alternative to the traditional.

9. Christmas - Michael Buble
Primed to compete with Josh Groban's multi-platinum album, Michael Buble's rendition of Christmas favorites follows on the heels of his double platinum album Crazy Love and his first Top 40 pop hit "Haven't Met You Yet".

10. A Very She & Him Christmas - She & Him
Putting an indie pop spin on classics like "Sleigh Ride" and "Have Yourself a Merry Little Christmas", this duo makes the holiday spirit a bit trendier.

These and other Christmas albums are available for purchase now at Amazon.com. You can also find original Christmas songs to download at www.hilltoprecords.com.

Happy Holidays from all of us here at HillTop Records!

Did You Know: The Legacy of Bing Crosby

2011-12-09T08:50:00.000-08:00

Bing Crosby (born Harry Lillis Crosby in 1903) is perhaps best remembered for two things: His signature bass-baritone voice, and his beloved recording of Irving Berlin's "White Christmas." The latter is, to this day, one of the country's most popular songs at Christmastime.

The biggest hit of Crosby's career, "White Christmas" was first aired on a Christmas Day radio broadcast in 1941. It was then included in Crosby's '42 film Holiday Inn, and it hit the music charts on October 3rd of that year. By October 31st, it had risen to Number 1--and it stayed there for 11 weeks. The holiday favorite was repeatedly re-released by Decca, and it charted another 16 after its initial success. It reached the Number 1 again in 1945, and then a third time in 1947. It remains the best-selling single of all time, selling (according to the Guinness World Records) "over 100 million copies around the world, with at least 50 million sales as singles." Of course, many attribute the success of the recording to Crosby's unique voice. However, the singer himself publicly dismissed his role in the song's popularity; he was quoted as saying that "a jackdaw with a cleft palate could have sung it successfully." One little-known fact about "White Christmas" is that the original 1942 master recording eventually became damaged due to its frequent use in pressing additional singles. In 1947, Crosby re-recorded the song using the same musicians and backup singers--and it is that second recording that is most familiar today.

In his 1990 autobiography Don't Shoot, It's Only Me!, Bob Hope wrote of his friend Bing Crosby: "Dear old Bing. As we called him, the 'Economy-sized Sinatra.' And what a voice. God I miss that voice. I can't even turn on the radio around Christmas time without crying anymore." It was not only Bob Hope who equated Crosby's voice with the sounds of Christmas. Even now, as temperatures dip and snow-covered lawns are decorated with twinkling lights, Bing Crosby's rendition of "White Christmas" is a soundtrack staple in homes and shopping malls. It therefore seems fitting that we honor his legacy here on our HillTop Records blog during the month of December. But did you know that the American performer contributed much more to the recording industry, especially in the way of technological advancement?

Well into his successful radio career in 1945, Bing Crosby made an important career decision. He was at that time in the midst of an argument with NBC over his insistence that he be able to prerecord his radio shows. Crosby saw a great advantage to prerecording, as it would enable him to set his own schedule. However, the networks disagreed, arguing that the public would not stand for "canned" radio and that prerecording would eliminate the special element of magic that only a live show has. Crosby set out to prove the producers wrong, and he wound up becoming a key player in the development of magnetic tape sound recording.

Legend has it that Crosby was propelled by his love of golf--he wanted to prerecord his shows so that he could spend more time improving his game. However, the radio personality was motivated by much more than his wish to devote more time to extracurricular activities: He wanted to improve the quality of recording, and be able to control the timing of his performances. Bing Crosby Enterprises produced his show, allowing him to arrange the microphones his own unique way and shooting promotion spots for his latest investment--the world's first frozen orange juice, by a new brand called Minute Maid.

Always an astute businessman with an eye for trends, Bing Crosby recognized the problems in his original transcription methods. His solution was to hire Jack Mullin, the recording professional credited with bringing the German Magnetophon to the United States. This innovative magnetic tape recorder from Radio Frankfurt could record 20 minutes per reel of high-quality sound. Its abilities caught the eye of Alexander M. Poniatoff, who founded Ampex in 1944. Ampex set out to manufacture an improved version of the Magnetophone, while Mullin used his German-made machine to record Crosby's Philco Radio Time show. As Crosby later explained in his autobiography, the new technology's key advantage lay in the editing:

"By using tape, I could do a thirty-five or forty-minute show, then edit it down to the twenty-six or twenty-seven minutes the program ran. In that way, we could take out jokes, gags, or situations that didn't play well and finish with only the prime meat of the show; the solid stuff that played big. We could also take out the songs that didn't sound good. It gave us a chance to first try a recording of the songs in the afternoon without an audience, then another one in front of a studio audience. We'd dub the one that came off best into the final transcription. It gave us a chance to ad lib as much as we wanted, knowing that excess ad libbing could be sliced from the final product. If I made a mistake in singing a song or in the script, I could have some fun with it, then retain any of the fun that sounded amusing."

Impressed by the company's advancements, Crosby invested $50,000 in Ampex and stipulated that the money be put towards producing more machines. In 1948, the entire second season of his Philco show was taped with the brand-new Ampex Model 200 tape recorder. Then, in 1950, he was filmed singing into one of the new Ampex tape recorders (one that, according to him, reproduced his voice better than anything else invented) in Mr. Music. Using his ever-growing media influence across multiple platforms, Crosby launched the tape recorder revolution in America. One of the first people to adopt the technology was his close friend and colleague, Bob Hope.

Crosby did not only change the way radio was recorded; he did the same for television. Until the early '50's, most television was aired live. Then came Crosby's own production, The Fireside Theater. Because Mullin had not yet succeeded with video tape, Crosby himself filmed the series of 26-minute shows at the Hal Roach Studios. His "telefilms" were then syndicated to individual TV stations. Crosby's career as a TV producer was short-lived; however, he continued to finance the development of videotape. On November 11th, 1951, Bing Crosby Enterprises (BCE) gave the world's first demonstration of videotape recording in Los Angeles. The images, captured by a modified Ampex 200 tape recorder, were "blurred and indistinct" but they marked a major leap forward for the recording industry--and they helped solidify Bing Crosby's lasting legacy.

The American singer, movie star and music industry pioneer was one of the best-selling recording artists of the 20th century. His acting abilities landed him an Academy Award, and his incredible contributions to American music were rewarded with the first-ever Grammy Global Achievement Award. His is one of only a few names that can be found on three different stars on the Hollywood Walk of Fame. He is also a member of the National Association of Broadcasters Hall of Fame in the radio division.

Bing Crosby also co-wrote the lyrics to 15 songs, including "At Your Command," which was Number 1 for three weeks on the U.S. pop singles chart in 1931. Songs of his were recorded by the likes of Frank Sinatra, Thelonious Monk, Billie Holiday and Duke Ellington. He certainly left his mark on the American music scene, at Christmastime and throughout the year. We know that his trademark voice and entrepreneurial spirit continue to inspire many of our HillTop Records songwriters.

HillTop Records' 2011 Holiday Gift Guide for Songwriters and Musicians

2011-12-06T08:50:00.000-08:00

Thanksgiving has come and gone and with it, Black Friday 2011. If you chose to avoid the crowds and finish your holiday shopping at a more leisurely--and probably safer--pace this year, you may still have a few people to cross off your Christmas list. If some of those people happen to be songwriters, musicians or music lovers--well, you're in luck! HillTop Records presents its 2011 Holiday Gift Guide for Songwriters and Musicians:

Gift Cards

Everyone loves a gift card, right? While it may seem a bit obvious, this is a great choice for the music-lover in your life who already has it all (or just very picky tastes.) Try iTunes for music downloads, Amazon for books and sheet music, or Ticketmaster for concert and festival tickets. You really can't go wrong with this favorite stocking stuffer.

Reading Material

Songwriters and musicians are constantly honing their craft, and the process can include a lot of reading. Here are some excellent books on the craft of music making--and the business of music selling:

All You Need To Know About The Music Business by Donald S. Passman

1000 Songwriting Ideas by Lisa Aschmann

Brilliant! by Michael Moore

Or, for just $12, you could get the songwriter in your life a whole year's subscription to American Songwriter magazine.

Tools of the Trade

A metronome is always a great gift for a musician. The Wittner Wood Metronome is both stylish and functional.

Every guitarist and bass player needs a guitar tuner. There are plenty on the market. The Korg GA1 Guitar and Bass Tuner is a solid choice.

Along the same lines, guitar picks and strings make excellent stocking stuffers. Best Buy tends to have a great variety.

Got a drummer in your life? Ditch the picks and strings, and grab some sticks instead! Drumsticks today run the gamut from traditional and reliable (like this 12-pack of Nova Hickory Drumsticks) to the truly remarkable (the Vic Firth Lite Stix LED Drumsticks let you create your own 7-color light show, complete with strobe effects, while you play!)

The Schilke Standard Series Trumpet Mouthpiece comes from a trusted label. It was specially designed to assist the student, teacher, amateur and professional alike.

A good microphone always comes in handy. Check out the Shure SM57 Instrument/Vocal Mic.

A Gibson Guitar Care Kit or a similar care kit for another instrument is a necessity, and perhaps one that your musician did not think to purchase on his or her own.

The M-Audio FastTrack Pro is a great first audio interface--and thanks to current online sales, it can be purchased at an incredibly low price.

The Vox Valvetronix Guitar Combo Amp is convenient, versatile, and powerful. What more could you want in an amp?

You never know when inspiration is going to strike. A prolific songwriter needs a sturdy songwriting journal that can withstand the wear and tear. This one by Italy Luca Natalizia for Barnes & Noble is tough yet elegant.

Gifts That Keep on Giving

If you have the cash, you might want to spring for local music lessons or, if that is not convenient given your budget or location, online music lessons. If you are looking for the right gift for a successful songwriter or musician, consider donating to his or her favorite charity.

MasterWriter songwriting software would also make a very thoughtful (albeit expensive) Christmas gift.

Another present that any music industry professional will find him- or herself using over and over again is a professional membership to IndieConnect.

Don't have a songwriter or musician to shop for this Christmas? Then maybe you'll want to put some of these items on your own wish list! And remember to Click on "Buy CDs and Songbooks" then type in BG-20 to purchase our just-released GREAT AMERICAN GOSPEL SONGBOOK. Thirty three great new songs by our Songwriters. Keep checking back with us here at HillTop Records as we help make your holiday season music-filled and memorable!

Christmas Carols and More: The Best Music Festivals in December 2011

2011-11-30T10:37:00.000-08:00

Music has always been a part of festive celebrations, and what month is more festive than December? No matter your religious convictions or geographic location, you are sure to find a great music festival to put you in the holiday spirit. Here are HillTop Records' picks for the best music festivals this month:

- Christmas New Orleans Style (12/1/2011 - 12/31/2011) in New Orleans, Louisiana
This month-long celebration of all things Christmas takes visitors back in time to the 1800's. New Orleans' oldest restaurants serve traditional Creole cuisine, while enthusiastic tour guides take you past the most stately homes in the French Quarter--which are, of course, bedecked in the finest holiday decorations. All the while, carolers and local musicians provide the perfect yuletide soundtrack. From cooking demonstrations to lively concerts and dances, there is something for everyone at this family-friendly event.

- A Night On The Town (12/2/2011) in Beaufort, South Carolina
Downtown Beaufort celebrates Christmas early this year with local dance troupes, choir performances, and tons of holiday decorations. Join in the yuletide fun this Friday evening, as the entire downtown area is magically transformed into a winter wonderland full of music, food and culture.

- Christmas in Chester (12/2/2011 - 12/4/2011) in Chester, South Carolina
Each year, the historic town of Chester, South Carolina draws hundreds of visitors to its holiday-themed exhibits. The entire town participates in a wide array of activities, from a Christmas Tree Lighting Ceremony to kid-friendly events like Breakfast with Santa and Story Time with Mrs. Claus. Families can decorate their own gingerbread houses to enter into the annual contest, tour the life-like Nativity Scene complete with live animals, get a head start on their Christmas shopping--and, of course, enjoy live music throughout the day and into the night.

- National Talent Search Atlanta Music Festival (12/2/2011 - 12/4/2011) in Lawrenceville, Georgia
Need a break from the holiday festivities? If you are in Georgia this December, you can head to this annual event to enjoy some fantastic music that has nothing whatsoever to do with Christmas! This popular TV talent competition acts as a live performance platform and showcase for unsigned talent. It features categories like Solo Vocalists and Hip Hop Groups, covering a wide range of genres. You can register your band today, or simply participate as an audience member.

- Festivals of Lights and Carols (12/3/2011) in Fairfax, Virginia
This annual Christmas festival has all the requisite events, including a tree lighting ceremony and lunch with Santa. However, the main draw to this festival is its abundance of live music. Organized carolers and other performers are sure to get you in the holiday spirit, right in the heart of Fairfax's Historic District.

- Holiday Symphony in the Park (12/3/2011) in DeBary, Florida
This Saturday, Florida takes advantage of its temperate climate by hosting a festive concert outdoors at Gemini Springs Park. The holiday-themed music festival is set to feature local institutions like the University High School Jazz Band, the DeBary Elementary School Choir, and Stetson University's own Orchestra.

- Merry Tuba Christmas Concert (12/3/2011) in Harriman, Tennessee
An annual music festival now in its 23rd year, the Merry Tuba Christmas Concert is a Tennessee tradition. The event honors the most influential tuba and euphonium players with live concerts and workshops. And the date is no coincidence: The festival was conceived in 1974 as a tribute to the late artist and teacher William J. Bell, who was born on Christmas Day, 1902. To this day, it includes a lot of carols and traditional Christmas songs.

- 2011 San Antonio Reggae Festival (12/17/2011 - 12/18/2011) in San Antonio, Texas
Proud to be San Antonio's last festival of the year, this large event gathers crowds of music lovers to the downtown area. Along with live performances by the likes of One Destiny and Ashes of Babylon, this year's festival will include kid-friendly activities, dancers and drum circles, a beer garden, and vendors selling everything from craft items to Caribbean food.

- New Years Bluegrass Festival (12/29/2011 - 12/31/2011) in Jekyll Island, Georgia
This fun-filled celebration honors December's largest cultural event. No, not Christmas--New Year's Eve! The global holiday comes alive with traditional Bluegrass music, played by acts from around the United States. The James King Band, Cedar Hill and others are set to headline this year.

- TheBond-fire Art and Music Festival (12/29/2011 - 1/2/2012) in Groveland, Florida
This non-commercial, homegrown music festival offers a laidback alternative to your hectic holiday festivities. However, do not mistake this music festival's easygoing atmosphere for a lack of activity! Two side-by-side stages on the main concert field are set to provide over fifty hours of live music by more than forty bands! The weekend will include great headliners like the North Mississippi Allstars and George Clinton & Parliament Funkadelic, Late-Night Tent Parties, workshops, and a collection of craft, food and beverage vendors.

- Gypsy Roots on the Traditional Stage at First Night (12/31/2011) in Raleigh, North Carolina
Raleigh rings in the New Year with a French-themed concert event featuring Django Reinhardt-inspired band, Gypsy. The romantic, bohemian French gypsy theme will be evident in every aspect of the celebration, from the food and drink to the hours of live entertainment.

- Music City New Years Eve Bash On Broadway (12/31/2011) in Nashville, Tennessee
It should come as no surprise that the city of Nashville is planning to ring in the New Year with live music. This annual festival will once again take over Broadway Street in the heart of downtown. It will include a beer garden, special partner exhibits, a countdown to midnight with a guitar drop and fireworks display, and hours upon hours of live music.

For more information on upcoming music festivals and events, check out Festivals.com. Also be sure to keep checking back with us here at HillTop Records, as we celebrate the 2011 Holiday Season right along with you!

HillTop Records' Thanksgiving Playlist

2011-11-22T16:30:00.000-08:00

As far as major Holidays go, Thanksgiving does not rank first for music. That award would most likely go to Christmas. After that might come New Year's Eve, or maybe even the Fourth of July. However, we at HillTop Records believe that it's just not a proper celebration without music--and so we'd like to offer, for your consideration, our picks for the best Thanksgiving-themed (or at least Thanksgiving-appropriate) songs for your supper:

1.) “Kind and Generous” by Natalie Merchant
This sweet and honest song is about thanking friends and family--and isn't that exactly what this holiday is about?

2.) “Peanuts Thanksgiving Theme” by Guaraldi Trio
Like us, Charlie Brown and the gang like to celebrate with song.

3.) “Thank You” by Dave Brubeck
A smooth, soulful, jazzy homage to gratitude.

4.) “Thank You” by Led Zeppelin
The lyrics may be more romantic than others on this list, but the overall message is the same: Thank you.

5.) “Alice’s Restaurant” by Arlo Guthrie
Less about gratitude and more about the plight of the American pacifist, this song is still played on radio stations across the U.S. each Thanksgiving. Over the impressive course of nearly nineteen minutes, "Alice's Restaurant" describes many events that took place on (you guessed it) Thanksgiving Day.

6.) “Thank You Too” by My Morning Jacket
Another song about giving thanks to a loved one.

7.) “Thanks a Lot” by Johnny Cash
What could be more American than Johnny Cash?

8.) "Turkey in The Straw"
This well-known American folk song dates from the early 19th century. Today, you probably won't hear it much--unless it happens to be Thanksgiving Day.

9.) "Thank You for the Music" by ABBA
The 25th and final hit single for Swedish pop group ABBA, this song might not be American--but it definitely gives thanks.

10.) "Colors of the Wind" by Alan Menken and Stephen Schwartz
Originally written for the Disney animated film Pocahontas, this song won both an Oscar and a Golden Globe for Best Original Song for its poetic depiction of the relationship between mankind and nature. It would be a great way bring some Native American culture to the dinner table without getting too political.

11.) "We Gather Together"
A prayer of Thanksgiving brought to the New World by Dutch settlers, this one's about as traditional as you can get.

12.) “The Thanksgiving Song” by Adam Sandler
Always the champion for non-religious holidays, Adam Sandler celebrates Thanksgiving with a song that... Well, that doesn't really make much sense. However, its title alone makes the song impossible to leave off of a Thanksgiving playlist.

And last but by no means least, the many songs of Thanksgiving and Praise written by Our Songwriters. Go to any of Our Songwriters' pages and Click to Listen.

From all of us here at HillTop Records... HAPPY THANKSGIVING!

A Good Pop Song, Deconstructed

2011-11-16T12:15:00.000-08:00

Of course, the idea of a song being "good" is highly subjective. However, the pop songs that reach a certain level of success--recognition and appreciation from fans and critics, continuous airplay--do tend to have some important things in common. These things are the key ingredients of a good pop song, and necessary tools for every songwriter's tool belt. Break down any pop song currently being played on commercial radio, and you will most likely find these major parts at play:

A Strong Intro
Like any other type of story, a good song consists of a beginning, a middle and an end. As the beginning to your song's story, the intro is the listener's first impression--and therefore an extremely important component. In most pop songs, the intro is a variation of the verse or chorus. It typically contains the hook (see below) or turnaround (a transitional passage found at the end of a section.) Also, like the song as a whole, the intro should be short and sweet--no longer than 20 seconds, max. Most pop songs contain intros of about 15 seconds.

An Identifiable Lyric Subject
We have written before about the importance of the lyric--what makes a strong one, how to overcome writer's block, and the art of transforming personal experience or beliefs into song. A successful pop song must contain a great lyric--one that touches listeners and connects them to your message. Of course, a well-written lyric must be accompanied by great music. Marrying these two elements may just be the most important step in the entire songwriting process. For tips on how to create the musical component of your song, see our blog post on musical form.

A Memorable Title
Like the name of a child or company, the name of a song is not something to be taken lightly. A song's title should be an extension of the song itself--and, most importantly, it needs to be memorable. If the title of your song is unique, people will have a better time remembering the song. And in order to like a song, you need to first remember it. One last thing to consider is the title's length; don't make it too long--short and simple is best.

A Catchy Chorus
The chorus is the selling point of the song--what drives it home. The sooner it hits your listener's ear, the better (which is why it is typically found within the intro.) The chorus is then repeated throughout the song, with or without variation. Because of this repetition, it must be catchy but not annoying. This is the fine line that good pop songs walk. You must make the chorus catchy, powerful and memorable.

Hooks
Like the chorus, the hook of a song is often repeated. It is the part of the song that people most often remember and sing along to--like a fisherman's hook catches a fish, a song's hook catches a listener's ear. In many genres (including hip hop, rock, dance and pop) the hook is found in (or consists of) the chorus. It can be melodic or rhythmic, and it often incorporates the main motif or theme of the song. However, the hook does not have to be words--it can also be instrumental, such as a guitar or piano riff. An example of a famous and unique "hook" is in Beethoven's Fifth Symphony: those distinctive three G notes followed by an E-flat.

Length
The length of a song can easily be dismissed as trivial. However, doing so would be a mistake. Especially in popular music by lesser-known songwriters, the length is a very important element to consider. For radio airplay reasons, most successful songs are kept under 4 minutes. Sometimes, a song will have multiple versions at varying lengths--for example, an already established artist may record a shorter version for the radio and an extended version (like the director's cut of a film) available on the album. Songwriters and artists who have already established themselves can get away with releasing a longer song. This is not really the case with lesser-known artists and, either way, there is a risk to consider: The longer a song is, the more likely a listener is to tire of it--or, even worse, become annoyed.

Powerful Vocal Delivery
Especially in the world of pop music, the voice is the most dominant instrument. Powerful vocal delivery can make or break a song--and keep in mind that "powerful" does not mean loud. You want the sound of the voice to match the sound of the lyric--melancholy, joyous, angry, etc.

The art of piecing these parts together is all part of songwriting, and the process it a very personal one; it can vary greatly from songwriter to songwriter. However, most songwriters (including those with HillTop Records) will say that they do not focus on each of these elements systematically, as if they are constructing something tangible like a building or a machine. Instead, they will concentrate on one key element--whether that be the lyric, the message or the feeling they wish to convey--and allow the rest to fall into place naturally.

This process, like any art form, takes time to master--and it can be difficult to describe. Art Garfunkel put it this way:

"I would start seeing, in just the sense I was saying now, the kind of record it was going to be and what the arrangement demands, and what my vocal part should be in the record. This was all emerging as the song was emerging."

Mark Knopfler said: "Each song has its own secret that's different from another song, and each has its own life. Sometimes it has to be teased out, whereas other times it might come fast. There are no laws about songwriting or producing."

Here are some other quotes from successful songwriters that you might find helpful or inspiring:

"For me, songwriting is something I have to do ritually. I don't just wait for inspiration; I try to write a little bit every day." - Sean Lennon

"For me, songwriting is something like breathing: I just do it. But that doesn't mean you're fantastic." - Adam Duritz

"I love the art form of songwriting. I get to carry a lot of vibes to a lot of people. My songs are all about the human condition, and people will be able to find themselves in my songs." - Glenn Hughes

"My songwriting and my style became more complex as I listened, learned, borrowed and stole and put my music together." - Boz Scaggs

"Songwriting is a very mysterious process. It feels like creating something from nothing. It's something I don't feel like I really control." - Tracy Chapman

Great American Songwriters: Tom Petty

2011-11-09T16:30:00.000-08:00

What do Muddy Wilbury, Charlie T. Wilbury, Jr. and Thomas Earl Petty have in common? Well, that is actually a trick question--because they are all the same person! Ultimately, the American songwriter and musician decided to drop his pseudonyms--and he continues to enjoy a successful career under his real name: Tom Petty. With a story that follows the American dream (from modest upbringings to international fame) and music that often celebrates our national culture, Tom Petty is a true icon of American rock music. He continues to inspire listeners of all ages, including many of our HillTop Records songwriters.

Born in 1950 in the city of Gainesville, Florida, Petty was just an ordinary kid--until one fateful day. When he was 10, young Tom was invited to visit the film set where his uncle was working at the time. There, on the set of Follow That Dream, he met Elvis Presley and immediately became an aspiring rock star. Once he saw The Beatles perform on The Ed Sullivan Show, he not only knew that he wanted to be a musician but that he also wanted to be part of a band. Of course, this is not an unusual aspiration for a young boy. Petty, however, had something that other kids his age did not: The innate sensitivity and natural talent of an artist. He began taking lessons in several instruments. One of his first guitar teachers was fellow Gainesville resident Don Felder, who would later go on to join The Eagles.

Petty formed his first band, The Epics, early on. The name was eventually changed to Mudcrutch, and the band (which also included Mike Campbell and Benmont Tench) enjoyed some success in the Gainesville area before splitting up. Immediately following the split, Petty pursued a solo career--but reluctantly, as he much preferred to work with a band. Tench, meanwhile, formed his own group and created with them a sound that Petty was attracted to. Petty, Tench and Campbell eventually reunited and were joined by Ron Blair and Stan Lynch. Together, they formed the first line-up of the now-famous band, The Heartbreakers--and even released an album. Tom Petty & the Heartbreakers was only mildly successful in the United States. However, when the single "Breakdown" was re-released in 1977, it managed to reach the #40 spot on the charts.

The Heartbreakers' second album, You're Gonna Get It!, fared better. It included the singles "I Need to Know" and "Listen To Her Heart", and it became the band's first Top 40 album. Damn the Torpedoes came next, and it immediately confirmed Top Petty and the Heartbreakers' newfound success. The band's third album went platinum, quickly selling nearly two million copies. It featured the breakthrough singles "Don't Do Me Like That", "Here Comes My Girl" and "Refugee".

Tom Petty's first duet, "Insider" with Stevie Nicks, made its appearance on 1981's platinum-selling album Hard Promises (which also featured the hit single "The Waiting".) This album was followed by Long After Dark in 1982, and then Southern Accents in '85. That particular album included the hit single "Don't Come Around Here No More" (made famous by a controversial music video inspired by the book Alice's Adventures in Wonderland) and prompted an exciting invitation from Bob Dylan: Tom Petty & the Beartbreakers were asked to join Dylan on his True Confessions tour; they did, and also played some dates with the Grateful Dead in 1986-'87. While on tour together, Petty and Dylan wrote "Jammin' Me" together; the single was released as part of 1987's Let Me Up (I've Had Enough).

Petty and Dylan's working relationship did not stop at that song. On the contrary, the two went on to team up with George Harrison, Roy Orbison and Jeff Lynne to form the Traveling Wilburys. This "dream team" of a band originally wrote their first song, "Handle With Care", to be the B-side of one of Harrison's singles. However, upon its completion, the song was deemed to good for that purpose--and the Traveling Wilburys decided to record a full album together. That album, Traveling Wilburys Vol. 1, was not followed by a second (incongruously titled Traveling Wilburys Vol. 3, in response to a series of bootlegged studio sessions that were being sold as Traveling Wilburys Vol. 2) until 1990, after the untimely death of Orbison. In recent years, Petty has been incorporating Traveling Wilburys songs--most notably "Handle With Care" and "End of the Line"--into his live performances.

Tom Petty released his first solo album, Full Moon Fever, in 1989. It featured "I Won't Back Down", "Free Fallin'" and "Runnin' Down a Dream" as well as appearances by an array of well-known musicians. Despite the fact that Petty has proven to be successful as a solo artist, however, he continues to prefer the collaborative environment of a group. In 1991, The Heartbreakers reunited to release Into the Great Wide Open--an album with a hit single of the same name, and "Learning To Fly". Of the time he spends as frontman for Tom Petty and the Heartbreakers, the songwriter has said: "We enjoy playing with each other, which I think is a pretty important part of this. If we didn't, we'd have given it up a long time ago. The idea when we started was to take five people and keep 'em together no matter what and see what we could get out of it, and we've pretty much stuck to that plan.”

Before leaving MCA Records for Warner Bros., the Heartbreakers got together to record two new songs for their Greatest Hits package: "Mary Jane's Last Dance" and Thunderclap Newman's "Something in the Air". With Warner Bros., Petty released his second solo album: Wildflowers (1994.) The album, which included the hit singles "You Don't Know How It Feels" and "You Wreck Me", sold over three million copies in the U.S. A couple years later, Tom Petty and the Heartbreakers released a soundtrack to the 1996 movie She's the One; this marked their first foray into the world of film. Another departure from the norm came in 2002, when the band released The Last DJ. This album featured several attacks on the music industry, critizing it for succumbing to the pressures of corporate greed and watering down the music to turn a quick profit. Despite the fact that the album caused an uneasy stir among music execs--or perhaps because of it?--it was popular on the charts; it reached Number 9 in the U.S. In response to questions about the album's message, Tom has responded that he does not see it as negative or bitter; in fact, he maintains that the songs carry with them a great deal of hope--you just have to look for it.

This positive outlook is typical of Tom Petty, who tends to be gentle with the industry and fellow musicians. Following claims that the Red Hot Chili Peppers' single "Dani California" borrowed too much from "Mary Jane's Last Dance", Petty tolled Rolling Stone Magazine:

"I seriously doubt that there is any negative intent there. And a lot of rock 'n' roll songs sound alike. Ask Chuck Berry. The Strokes took 'American Girl' [for their song 'Last Nite'], and I saw an interview with them where they actually admitted it. That made me laugh out loud. I was like, 'OK, good for you' ... If someone took my song note for note and stole it maliciously, then maybe [I'd sue]. But I don't believe in lawsuits much. I think there are enough frivolous lawsuits in this country without people fighting over pop songs."

Of his own songwriting abilities, Petty tends to be modest--even self-deprecating. “I'm barely prolific and incredibly lazy," he has said. However, we at HillTop Records strongly disagree--as do Petty's peers. In 1994, bands like Everclear and Silkworm got together to release the Tom Petty tribute album, You Got Lucky. In '96, the songwriter received UCLA's George and Ira Gershwin Award for Lifetime Musical Achievement the same month he won the American Society of Composers, Authors and Publishers' Golden Note Award. In 1999, Tom Petty and the Heartbreakers received a star on the world-famous Hollywood Walk of Fame. Then, in 2002, they were inducted into the Rock and Roll Hall of Fame. Of that particular achievement, Petty said: “It's very easy to be cynical about the hall of fame. But on the other hand, it's really a beautiful thing for someone like me. I dedicated my entire life to this music.”

You can learn more about this life of Petty's by reading Conversations with Tom Petty (an oral history/biography composed of interviews conducted in 2004 and 2005 with Petty by music journalist Paul Zollo) or watching Peter Bogdanovich's documentary film Runnin' Down A Dream, which premiered at the New York Film Festival in 2007. Or you can simply listen to the "barely prolific" songwriter's music: "Don't Do Me Like That", "American Girl", "I Won't Back Down", "Free Fallin'", "Runnin' Down a Dream"--these and others have withstood the test of time, and even become representative of American music as a whole. Throughout his career, Tom Petty has sold over 60 million albums. He continues to tour and write--and he does not seem to be slowing down anytime soon.

The Best Music Festivals of November 2011

2011-11-02T16:00:00.000-07:00

The month marking the annual transition from fall to winter, November is not known for its music festivals. As people head indoors to prepare for winter, local parks and fairgrounds feel deserted. However, that does not mean that there are no events to look forward to! Here are HillTop Records' picks for November's best music festivals:

- 21th Annual Sarasota Bluesfest (11/5/2011) in Sarasota, Florida
Thumbing its nose at the parts of the country already covered in snow, the city of Sarasota celebrates its still temperate weather with an all-day outdoor music festival. Along with craft vendors and delicious food, the festival highlights live entertainment at the Ed Smith Stadium Complex. Past performers have included everyone from Booker T & The MGs to Gregg Allman. This year's installment--the 21st annual event--will included performances by Legendary Los Lobos, Lightnin Malcolm, 2011 Grammy Award Nominee Ryan Shaw, and others.

- Bluegrass, Barbeque, and Brew Festival (11/5/2011) in Brookneal, Virginia
A ticket to this beloved annual event costs $20 at the door. It includes a 16 oz commemorative Pilsner glass, tastings from Legend and Starr Hill breweries, 2 full glasses of beer, and authentic bluegrass music by three bands--The Bluegrass Brothers, Willow Branch, and Robbie Wells and the Wells Clan. Visitors can relax on the beautiful grounds of Red Hill--and even take a guided tour of Patrick Henry's reconstructed home, original law office, and other historical buildings--while enjoying local barbeque and craft ales.

- Brazos Valley Worldfest (11/11/2011 - 11/12/2011) in College Station, Texas
Bringing the world to the Brazos Valley, this annual festival celebrates the vast diversity of the local population. Thanks to Texas A&M University and Blinn College, there are 120 different countries being represented by the residents of College Station/Bryan, Texas. The Brazos Valley Worldfest will feature live performances by local groups and renowned artists from other cities as well as country information booths, craft and skill demonstrations, interactive presentations, special exhibits for children, and plenty of great international cuisine.

- Florida Cajun Zydeco Festival (11/11/2011 - 11/13/2011) in Hollywood, Florida
This festive event brings the bayou to Florida with the best Cajun zydeco acts! It fills three full days with continuous live music on several stages, as well as Louisiana food and beverages. Arts and crafts vendors and activities provide fun for the whole family--but what really draws the crowds is the fantastic music. If you like zydeco, then this event is not to be missed.

- String Guitar Festival (11/11/2011 - 11/13/2011) in Massillon, Ohio
Bring your love and passion for the guitar to the Massillon Museum, and experience a new kind of music festival. The Ananda Center is set to hold its inaugural guitar festival, featuring premier players and technicians from two continents. Made possible in part by a grant from ArtsInStark, String will kick off with an intimate concert by Les Freres Meduses in the museum's Main Gallery and continue with a series of performances as well as professional workshops and seminars. Tickets are still on sale; purchase a Weekend Pass, and you will also receive a ticket for the movie, Sweet and Lowdown, to the shown throughout the festival at the historic Lincoln Theater

- The South Shore Music Festival (11/12/2011) in Riverview, Florida
Building on the success of last year's festival, the 2nd Annual South Shore Music Festival is set to be even bigger and better. Bands from across South Florida are gearing up to take the stage, with Heidi Decker from 106.5 CTQ acting as MC. Genres will range from old-school country to blues to rock and roll. The most exciting addition to the festival is, however, a 10,000-square-food Kids Zone with inflatable rides, climbing walls, games and a "Reptile Discovery" show.

- Bainbridge Symphony Orchestra: New Beginnings (11/12/2011 - 11/13/2011) in Bainbridge Island, Washington
The Bainbridge Symphony Orchestra is a local institution, known for holding wonderful concerts throughout the year. This November, it offers a new event to welcome its new Music Director and Conductor, Wesley Schulz. The series of concerts will feature high-energy, celebratory works by Brahms, Bizet, Sibelius, Rachmaninoff and Whitacre at the Bainbridge Performing Arts Center.

- Zydeco Swamp Stomp (11/13/2011) in Marietta, OhioStraight from the Louisiana bayou to the Adelphia Music Hall, this annual event makes for a great night out. With help from Jeffery Broussard & The Zydeco Cowboys (not to mention a cash bar), attendees are encouraged to kick up their heels on the large dance floor.

- The Kickin It Country Music Festival (11/18/2011 - 11/20/2011) in Conroe, Texas
With top Texas country musical acts and carnival rides, the Kickin It Country Music Festival offers fun for the whole family.

- 12th Annual Southwest Florida Blues Festival (11/19/2011) in Cape Coral, Florida
A laidback event now in its twelfth year, this blues festival draws some of the best entertainers of the genre. Pull up a blanket or beach chair--and don't forget the sunscreen--and relax to the musical stylings of Southern Hospitality, Smokin’ Joe Kubek and Bnois King, and others. Kids 10 and under are free with a paid adult, and proceeds benefit organizations dedicated to improving music education, youth groups, senior citizen support groups, and other local charities.

- 18th Annual Slack Key Guitar Festival Kauai Style (11/20/2011 - 11/21/2011) in Lihue, Hawaii
The beautiful island of Kauai is the perfect setting for this annual gathering of the best slack key guitar players. Headliners include Makana, Paul Togioka, and David Kahiapo.

- South Carolina Bluegrass Festival (11/24/2011 - 11/26/2011) in Myrtle Beach , South Carolina
If you can bear to tear yourself away from your Thanksgiving feast, check out the live music and other offerings of this annual festival. The best of bluegrass will be in attendance at the Myrtle Beach Convention Center.

... And then, once November ends, December will begin--and bring with it dozens of great holiday-themed music events! We at HillTop Records will, of course, do our best to keep you in the know.

Sage Advice, Words of Wisdom--and a Sense of Humor

2011-11-02T13:38:00.000-07:00

A few years back, an issue of Wired Magazine included an article by renowned musician (and founding member of The Talking Heads) David Byrne--David Byrne's Survival Strategies for Emerging Artists--and Megastars. In it, Byrne offers his take on the future of the music industry--and dishes out some useful advice to up-and-coming songwriters. The article, chock-full as it is of tips and tricks of the trade, led us to wonder--what other bits of helpful advice are floating around the Internet, straight from the mouths of the music industry's heavy-hitters?

"How do you know if your song is any good? ...A song that expresses what you feel is a good song, even if no one else thinks so. A song that expresses your thoughts and feelings in a way that reaches other people, helps them feel something deeper or understand something better - that's a really good song and probably one that cold earn you some money!" - Robin Frederick, songwriter, music exec and author of Shortcuts to Hit Songwriting: 126 Proven Techniques for Writing Songs That Sell.

"A songwriter should have friends who are similarly interested; should move about in the milieu of work he has chosen for himself." - Dorothy Fields

"As a songwriter, if you can touch people and make them feel a little less alone in the world, then you've done your job." - Tom Cochrane

"I started being a songwriter pretending I could do it, and it turned out I could." - James Taylor

"Being a good songwriter means paying attention and sticking your hand out the window to catch the song on the way to someone else's house!" - Nanci Griffith

"Being a songwriter does not rely on an audience or other band members or a camera. I can just sit in a room and write songs." Rick Springfield

"I may not be the most famous songwriter in the world, but you know a David Friedman song when you hear it. It took me a long time to appreciate that." - David Friedman

"The artist is nothing without the gift, but the gift is nothing without work." - Emile Zola

"Art doesn't need an audience to exist, it ensures our existence" - Jim Morrison

"I'm not really a songwriter - I'm an interpreter. So in a sense I am an actress first and foremost. I act out the songs, and I lead with my heart." - Diana Ross

"The hack songwriter will write the absolute truth every single word, whether it makes a great song or not." - Paul Westerberg

"The songwriter mustn't fall in love with his own song. If it doesn't belong, he can't push it into a show. Let him save it; maybe it'll fit in another show." - Dorothy Fields

"Music is your own experience, your own thoughts, your wisdom. If you don't live it, it won't come out of your horn. They teach you there's a boundary line to music. But, man, there's no boundary line to art." - Charlie "YardBird" Parker

"Just as Jesus created wine from water, we humans are capable of transmuting emotion into music..." - Carlos Santana

"Wes Montgomery played impossible things on the guitar because it was never pointed out to him that they were impossible. " - Ronnie Scott, jazz saxophonist

"Anything that is too stupid to be spoken is sung." - Voltaire

"Use the talents you possess, for the woods would be very silent if no birds sang except the best." - Henry Van Dyke

"I wanted to create music that was so different that my mother could tell me from anyone else." - Les Paul

"I would advise you to keep your overhead down; avoid a major drug habit; play everyday and take it in front of other people. They need to hear it and you need them to hear it." - James Taylor

"There's nothing remarkable about it. All one has to do is hit the right keys at the right time and the instrument plays itself." -Johann Sebastian Bach

Lastly, below is a copy of a page torn from saxophonist Steve Lacy's notebook. It contains notes that Lacy took during the time he spent playing with--and collecting priceless bits of wisdom from--Thelonius Monk in 1960:

Great American Songwriters: Brian Wilson

2011-10-26T17:00:00.000-07:00

The great American songwriter who gave us "Good Vibrations" and other feel-good hits has always been inspired by his Southern California roots. Brian Wilson, best known for being the leader and chief songwriter for The Beach Boys, grew up minutes from our HillTop Records offices in Hollywood. He was born in 1942 and he spent his childhood in Hawthorne, a town near the beach and central Los Angeles. And supposedly, he showed an interest in music at an exceptionally young age: His father, Murry Wilson, said that prior to young Brian's first birthday, the baby could repeat the melody from "When the Caissons Go Rolling Along" after his father had only sung a few verses. "He was very clever and quick," Murry said. "I just fell in love with him." Years later, the rest of the world did as well.

When he was only two years old, Brian Wilson heard "Rhapsody in Blue" by George Gershwin. The song had a great emotional impact on him, and was one of the first things that prompted him to write his own music. However, Wilson also experienced what many would consider to be a setback at a young age: He was discovered to have extremely diminished hearing in his right ear (the cause of which was never officially determined.) Despite this, Wilson embraced his musical abilities in a number of ways. He took lessons on a "toy accordion" and was singing solos in church by the age of seven. A natural leader, Brian taught some of his schoolmates to sing along with him. He also taught his two brothers how to harmonize, and they would do so late into the night when they were supposed to be asleep. Brian learned to play the piano soon thereafter, and he used a keyboard to recreate blended sounds that he heard in popular music. On his sixteenth birthday, he received a Wollensak tape recorder--and immediately began recording his own group vocals. It was obvious that Brian Wilson was meant to work in the music industry.

Wilson's first real singing group was called "Carl and the Passions;" the name was invented to entice Brian's youngest brother, Carl Wilson, who did not want to join the group. The Passions also consisted of Mike Love, who was the Wilsons' cousin and one of Brian's first singing partners. The group performed at the boys' high school, and their abilities made an impression on one classmate in particular: Al Jardine, a fellow musician who later joined the three Wilson brothers and Mike Love to form The Beach Boys. The group was, however, initially named The Pendletones--and their first single was "Surfin'", written by Brian and Mike Love. Over Labor Day weekend 1961, the Wilsons' parents went to Mexico City for a couple of days. The enterprising Brian (then only 19) took the emergency cash his parents had left behind and used it to rent an amp, a microphone, and a stand-up bass. The boys still needed some money to cover musical expenses; however, once Al's mother heard the group perform, she was happy to help them out. The next adult to be won over by The Pendletones' sound was Murry, who was at first angry when he found out what his money had been used for. When he heard the boys perform, however, he was so impressed that he promptly proclaimed himself the group's manager. The first label to sign them was Candix, who released "Surfin'"; the single became a top local hit in Los Angeles, and it reached Number 75 on the national charts. Years later, Dennis (the middle Wilson brother) described the first time Brian heard their song on the radio: "Nothing will ever top the expression on Brian's face, ever ... THAT was the all-time moment."

Immediately after that first success, Candix Records changed the Pendletones' name to The Beach Boys--without the band's knowledge or permission. The new name did seem to work for them, and The Beach Boys performed their first major live show at The Ritchie Valens Memorial Dance on New Year's Eve, 1961, following a set by Ike and Tina Turner. Just three days before the show, Brian's father (and the band's manager) had bought him an electric bass and amplifier--and Brian learned to play the instrument in that short period of time. Shortly thereafter, Brian and Mike wrote "Surfin' Safari." They went on to record that and an early version of "Surfer Girl," which Brian had actually written the previous year; it was, in fact, his first all-original melody. In 1963, it was finally re-recorded and released--and it became a Top 10 hit.

Brian eventually forged a songwriting partnership with Gary Usher, who helped him write "409" and others. Around the same time, Al Jardine left the band and the Wilsons' recruited Carl and Dennis' friend (13-year-old David Marks, who played the electric guitar) to take his place. The songs that the re-vamped Beach Boys recorded were good enough to attract the attention of Capitol Records. Their demos, "Surfin' Safari" and "409" were released--and they became a double-sided national hit. After signing with Capitol Records, Brian Wilson wrote or co-wrote a series of hit singles: "Surfin' USA", "Shut Down", "Little Deuce Coupe", "Be True to Your School", "In My Room", "Fun, Fun, Fun", "I Get Around", "Dance, Dance, Dance", "Help Me Rhonda", "California Girls", "Good Vibrations"--these were not just popular songs, but veritable anthems of the California surf culture that Brian and the rest of The Beach Boys personified. The band had officially reached the ranks of the world-famous, and they were one of the biggest acts of that time.

Adapted from Chuck Berry and emblematic of the early 60's American rock culture, the Surfin' USA album had reached the Number 2 spot on the national sales charts by the summer of 1963. It was a huge success for everyone involved and especially so for Brian, who was credited as a producer on the album. He began working with other artists during that time: The Honeys, Sharon Marie, The Survivors, and Jan and Dean (with whom Brian co-wrote "Surf City," which was the first surfing song to reach the pinnacle of the sales charts.) Once he tired of surfing songs, he wrote car-themed tunes; this is evident in The Beach Boys' fourth album, Little Deuce Coupe (1963.) Whatever the theme, though, Brian Wilson managed to maintain a consistency: He was famous for his unique use of vocal harmonies, his trademark style of lyrics, and his incessant studio perfection. He described that last trait in a 1999 interview: "I would have the musicians keep playing over and over again till the sound made sense. I worked overtime on that; I worked hours to get it right. If the sound didn't make any sense, then I wouldn't know what to do — I'd be lost! It's instinct that tells me. I have an instinct for music, or a feeling about it, and I'll have my feelings guide my hands."

Brian eventually stopped performing with the group in an effort to concentrate solely on songwriting and studio production. In late 1965, he was inspired by The Beatles' album Rubber Soul (for a time, John Lennon and Paul McCartney were Wilson's biggest rivals; both bands have cited the other as a major influence) to work on new material. This new material became Pet Sounds, which is to this day considered one of the greatest albums of all time. Although The Beach Boys recorded the album's songs and lyricist Tony Asher helped Wilson write some of them, Pet Sounds is oftentimes thought of as Wilson's first solo effort. In fact, the band didn't even like the songs at first. As Brian explained it: "They thought it was too far-out to do, you know?... But then when it was all done, they liked it. They started liking it."

Wilson then collaborated with Van Dyke Parks on "Heroes and Villains", "Surf's Up", "Wonderful", Vegetables" and "Mrs. O Leary's Cow"--songs that were meant to be part of the 1966 album Smile. However, Wilson's ongoing battle with his own mental health led to the postponing--and eventual cancellation--of that release. Brian Wilson did complete Smile, but not until 2004. By 1985, he was no longer a member of The Beach Boys. Several years after his departure from the band, he released his first solo album, Brian Wilson (1988.) The latter half of his lengthy career also features the soundtrack to Don Was' 1995 documentary I Just Wasn't Made for These Times, the '95 album Orange Crate Art (a collaboration between Wilson and Van Dyke Parks) and 1996's Stars and Stripes Vol. 1. Brian also recorded an album with his two daughters, Carnie and Wendy of Wilson Phillips, called The Wilsons (1997.) He sang backup on Belinda Carlisle's "California" in 1996, released the solo album Imagination in '98, and produced Gettin' in Over My Head in 2004. That last album included collaborations with Elton John, Eric Clapton, Wilson's late brother Carl, and his former rival, Paul McCartney. When Smile was finally resurrected, it led to Wilson earning his only Grammy to date--the 2005 award for Best Rock Instrumental, for "Mrs. O'Leary's Cow (Fire)".

What makes Brian Wilson's story so fascinating is the fact that, despite monumental setbacks, it is still going strong. The public loves a comeback, and that is exactly what he is giving us. In 2008, Wilson released two albums: That Lucky Old Sun and A World of Peace Must Come (a collaboration between him and Stephen Kalinich.) He then signed a two-record deal with Disney, and agreed to complete two piano pieces left unfinished by his first idol: George Gershwin. In 2010, Brian Wilson Reimagines Gershwin was released--and it reached the Number 1 spot on the Billboard Jazz Chart. His second Disney album was In The Key Of Disney, released just days ago. Amid these recent successes and rumors of a Beach Boys reunion tour and album, Brian Wilson continues to inspire songwriters--here at HillTop Records and around the world.

What's Happening In Music In: Baltimore

2011-10-21T17:45:00.000-07:00

One of Baltimore's biggest claims to fame is the fact that it was where Francis Scott Key wrote the lyrics for the Star Spangled Banner. To this day, it remains a place of great history--and of great music. Those whose tastes include Western classical and jazz will be especially pleased with the local music scene. However, this major Maryland city has something for everyone. Moreover, it's close proximity to the United States capitol allows Baltimore to offer even more options to its citizens and visitors. For these and other reasons, the historical city is the next stop on HillTop Records' tour of great American music scenes.

The music of Baltimore can be traced as far back as 1784, when the city first became Maryland's largest and most prominent cultural hub. Musical theater and opera were among the preferred forms of entertainment, and the city also hosted several major music publishing firms until well into the 19th century. Around that time, Baltimore became a huge producer of musical instruments, including pianos and woodwinds. The many Protestant churches in the area created another avenue for music; meanwhile, the jazz and gospel scene grew with Baltimore's rapidly expanding African American population. This vast diversity has remained a constant characteristic of Baltimore's music scene: Alongside historic institutions like the Baltimore Symphony Orchestra and the Peabody Institute, the more modern fields of rock, hip hop and R&B thrive.

Originally established in 1866, the Peabody Orchestra was the first professional orchestra in Baltimore. It was famous early on for premiering many works, including those by Asger Hamerik. The prominent Danish composer eventually became director of the Orchestra, which was followed in succession by Ross Jungnickel's Baltimore Symphony Orchestra. By 1899, that Orchestra has also gone under; it was immediately replaced by the Florestan Club, which included author H. L. Mencken. The Club reformed the Baltimore Symphony Orchestra, and their version (which began performing in 1916) became the first municipally funded company in the country. It was reorganized as a private institution in 1942 under Reginald Stewart, who directed both the Orchestra and the Peabody. That connection paved the way for a lasting, meaningful relationship between the two institutions. To this day, most of the major musical organizations in Baltimore were founded by musicians who trained at the Peabody Institute's Conservatory of Music.

The Baltimore Symphony Orchestra underwent a series of transitions, becoming more professional during the latter half of the 20th century. Under Music Director David Zinman, it recorded for major record labels and was the first Orchestra to tour in the Soviet bloc. It is still an excellent option for classical music in Baltimore--but definitely not the only one! Choral organizations, founded in the early 19th century for the purpose of instruction in choral music, left their mark on the city by way of an impressive music education system. Check out the Bach Choir, the Choral Arts Society, the Handel Society, Baltimore Choral Arts, and the Baltimore Symphony Chorus. Opera is also a beloved part of Baltimore's classical music scene: There's the Baltimore Opera Company, first founded in 1924, and the Martinet Opera School. The Baltimore Chamber Music Society has commissioned a number of renowned works, and the Baltimore Women's String Symphony Orchestra has been famous since the days when women were barred from the Baltimore Symphony Orchestra (but allowed in the Baltimore Colored Symphony Orchestra.) In the early 20th century, institutions like the Baltimore Colored Chorus and Symphony Orchestra and the Baltimore Colored City Band introduced jazz-like sounds to Baltimore's classical music. During these times of great racial tension, the interracial Aeolian Institute for higher musical education was established as a beacon of hope. Meanwhile, the Director of Municipal Music for Baltimore forbade jazz in local venues--and the Peabody Institute debated whether jazz was music at all! Thankfully, those days have passed.

Jazz is now alive and well in Baltimore, as are other forms of popular African American music. An early pioneer was the Baltimore Afro-American, a prominent periodical based in Baltimore in the early- and mid-20th century; another was WBAL radio personality Chuck Richards. Baltimore was also at the forefront of the East Coast ragtime movement, producing the legendary performer and composer Eubie Blake. Chick Webb, Billie Holiday, Noble Sissle and other celebrities of that era played in Baltimore, especially in venues along Pennsylvania and Fremont Avenues. The section of Baltimore Street between Calvert and Gay, known as The Block, was another mecca for jazz players and audiences. The first local bar to specialize in jazz was Club Tijuana, and the Sphinx Club (opened in 1946) was one of the first minority-owned nightclubs in the United States. However, no stage in Baltimore was quite as important--or intimidating--as the one at the Royal Theatre. It produced one of the city's musical leaders in Rivers Chambers, who led the Royal's house band from 1930 to 1937. Blanche Calloway, one of the first female jazz bandleaders in the U.S., was also from Baltimore. The city also gave us Ethel Ennis, Elmer Snowden, and a great number of jazz saxophonists. Once the Left Bank Jazz Society was formed, the city attracted the likes of Duke Ellington and John Coltrane.

Doo-wop groups and soul also had hey days in Baltimore. A few decades later, other genres came onto the scene: New wave musicians Ric Ocasek and David Byrne, Frank Zappa, Tori Amos, Cass Elliot of The Mamas & The Papas, Adam Duritz (the vocalist for the Counting Crows) and other successful rock acts from the '70's and '80's are all from Baltimore. A lively hardcore punk scene grew, but was overshadowed by the one in nearby Washington, D.C. More recently, the Maryland city has given us Animal Collective, Beach House and Cass McCombs. The all-volunteer Baltimore Rock Opera Society adds another voice to the scene, reminding audiences of the city's rich classical heritage. The famous minimalist composer Phillip Glass hails from Baltimore, as do R&B/rap legends like Dru Hill, Mario and Tupac. (Like we said before--there is something for everyone.)

Attractions for the music-lover visiting Baltimore include a plaque marking the site of the now-defunct Royal Theater, and the statue of Billie Holiday that remains on Pennsylvania Avenue between Lafayette and Lanvale. Many of today's most popular nightclubs and live music venues can be found in the districts of Fells Point and Federal Hill. There are also six major concert halls in Baltimore. Be sure to see the Lyric Opera, modelled after the world-famous Gewandhaus in Leipzig, Germany. The Meyerhoff Symphony Hall (the permanent home for the Baltimore Symphony Orchestra) and the Kraushaar Auditorium at Goucher College, both designed by Pietro Belluschi, are other landmarks. Johns Hopkins University's Shriver Hall, the Peabody's Miriam A. Friedberg (the oldest concert venue still in use in Baltimore) and the Joseph Rebecca Meyerhoff Auditorium at the Baltimore Museum of Art (which routinely hosts concerts by the Baltimore Chamber Music Society) complete the list. The Society for the Preservation of American Roots Music and Jazz in Cool Places (which presents concerts in architecturally significant locations throughout the city) also work hard to keep the local music scene at its best.

Although the Baltimore Afro-American is no more, numerous papers and media sites have sprung up to take its place. Check the listings in The City Paper, The Baltimore Sun and Music Monthly, as well as the periodical distributed by the Baltimore Blues Society. For more information on Baltimore's music scene, check out Aural States (voted Best Local Music Blog of 2008) and Beatbots (Best Online Arts Community 2007.) Also keep checking back here with us at HillTop Records as we continue to bring you music news from around the country.

Great American Songwriters: Paul Simon

2011-10-19T14:23:00.000-07:00

Perhaps best known for his contributions to the legendary duo Simon & Garfunkel, Paul Simon is actually the songwriter of the two. While that successful partnership catapulted him to global fame, Simon has also enjoyed a respectable solo career. The award-winning songwriter has collected 12 Grammys and a number of other impressive accolades. In 2006, he was selected as one of the "100 People Who Shaped the World" by Time magazine and the following year, he was named the first recipient of the Library of Congress' Gershwin Prize for Popular Song. And it all began in New Jersey in 1941, when Simon was born to professional musicians who undoubtedly passed their passion and talents down to him.

Paul Simon's father was a classically trained bass player and a first violinist on the main radio station of Budapest before he immigrated from Hungary. His mother, also Hungarian-born, was a private music tutor and elementary school teacher. Fellow songwriter and musician Donald Fagen (of Steely Dan) later described Simon's childhood as that of "a certain kind of New York Jew, almost a stereotype, really, to whom music and baseball are very important. I think it has to do with the parents. The parents are either immigrants or first generation Americans who felt like outsiders, and assimilation was the key thought — they gravitated to black music and baseball looking for an alternative culture." Simon, upon hearing Fagen's description, acknowledged that it "[wa]sn't far from the truth."

As fate would have it, Paul Simon and Art Garfunkel were both cast in their school's production of Alice in Wonderland when they were 11 years old. They immediately became friends, and began singing together (sometimes at school dances) when they were 13. The two boys idolized the Everly Brothers, and tried to imitate their use of close two-part harmony. Simon also looked up to legends like Woody Guthrie and Lead Belly while he wrote music, which he started doing when he was around 12 years old. His first song was called "The Girl for Me," and his father wrote out the words and chords by hand. That piece of paper became the first officially copyrighted Paul Simon and Art Garfunkel song, and it is now in the Library of Congress. By the time the boys were in their mid-teens, they had signed their first recording contract (with the Big Records label) and adopted the stage name Tom and Jerry. The first song they recorded under that name was "Hey, Schoolgirl", which reached Number 49 on the pop music charts. Simon and Garfunkel both took time off to earn university degrees, however, they both knew that they would return to music as soon as they were able.

Between 1957 and 1964, Simon wrote, recorded and released more than thirty songs. Some of these songs, including "That's My Story" and "Our Song," were collaborations with Garfunkel; others involved other partners, or were solo efforts by Simon. The singles were released on several minor record labels, and some (like, for example, "Motorcycle" sung by Tico and the Triumphs and "The Lone Teen Ranger" by Jerry Landis) enjoyed moderate success on the charts. The next highlight of Simon's musical career was in his early 20's, when he moved to England and started touring folk clubs and coffee houses. While there, he collected a number of musical influences--and he also recorded his solo LP, The Paul Simon Songbook. Among the many people he met in the UK were Kathy Chitty (who became his girlfriend and was the inspiration for "Kathy's Song" and "America") and Bruce Woodley of the Australian pop group The Seekers. Simon co-wrote several songs with Woodley: including "I Wish You Could Be Here", "Cloudy" and "Red Rubber Ball." Later, the American group The Cyrkle recorded a cover of "Red Rubber Ball" that reached the Number 2 spot in the U.S.

Simon and Garfunkel soon reunited, and landed a contract with Columbia Records. For the first time, they were encouraged to record under their real names (instead of "Tom and Jerry") and their first LP as such was Wednesday Morning, 3 A.M. The 12-song album (with 5 of those songs written by Simon) initially flopped; however, East Coast radio stations began receiving requests for one of the tracks--Simon's "The Sounds of Silence." The duo's producer, Tom Wilson, overdubbed the original track with electric guitar, bass and drums, and then released it as a single. That single eventually climbed to the top of the American pop charts--and it is to this day regarded as one of Simon's best. The commercial success of "The Sounds of Silence" prompted Simon and Garfunkel to record four more influential albums together: Sounds of Silence; Parsley, Sage, Rosemary and Thyme; Bookends; and the hugely successful Bridge Over Troubled Water. The pair also contributed extensively to the soundtrack of The Graduate (1967), starring Dustin Hoffman and Anne Bancroft. Simon wrote "Mrs. Robinson" specifically for the film.

Simon's musical career apart from Garfunkel has been just as impressive. After the pair split in 1970, Simon launched whole-heartedly into producing solo material. He released his eponymous album Paul Simon, along with the experimental Jamaican-inspired "Mother and Child Reunion." That first foray into reggae was one of the first by a white musician, and it was a hit in the U.K. and the U.S. The album was also well received, praised for its variety and confessional tone. After that came the pop-folk masterpiece There Goes Rhymin' Simon, released in 1973. The album contained "Kodachrome", "Loves Me Like a Rock", "American Tune" and "Something So Right". It was also released as a live album, Live Rhymin'. Still Crazy After All These Years (1975) was Simon's highly-anticipated follow-up album; it featured a darker mood than the songwriter was typically known for--and yet, it is still his only No. 1 album on the Billboard charts. It received a Grammy Award for Album of the Year, and Simon's performance also won for Best Male Pop Vocal. The album contains "50 Ways to Leave Your Lover," which is Simon's only No. 1 single to date.

The following decades brought even more success for Simon, and that success was in several different fields. He wrote music for the film Shampoo, and was cast in a role in Woody Allen's Annie Hall. His single "Slip Slidin' Away" (off the 1977 compilation album Greatest Hits, Etc.) reached the Number 5 spot. One Trick Pony, Simon's first album in almost five years, was released in 1980 to coincide with the release of the motion picture of the same name (which Simon wrote and starred in.) After that came Hearts and Bones, a confessional album that is widely considered to be one of his best. In the early '80's, Simon combined pop, a cappella, isicathamiya, rock, and mbaqanga sounds to create Graceland. He was then inspired by Brazilian music, and recorded The Rhythm of the Saints. One song from that album, "She Moves On", has a particularly interesting anecdote: Simon's ex-wife Carrie Fisher says in her autobiography Wishful Drinking that it is about her. She also wrote the line, "If you can get Paul Simon to write a song about you, do it. Because he is so brilliant at it."

Paul Simon still continues to perform, record and release music. He loves to experiment with genres and techniques from around the world, and often strays from his original American folk roots. In the 1990's, he wrote and produced a Broadway musical called The Capeman; he also played himself on the Disney Channel TV movie, Mother Goose Rock 'n' Rhyme. He has appeared on Saturday Night Live (SNL) a total of 13 times, and has performed everywhere from music festivals to the White House. Occasionally, Simon and Garfunkel reunite to record a single, perform a concert--or accept an award. They were inducted into the Rock and Roll Hall of Fame together in 1990, and they jointly received a Grammy Lifetime Achievement Award in 2003. When they got back together in 2004 to perform a free concert at the Colosseum in Rome, that concert drew 600,000 people.

You may be a fan of Simon & Garfunkel, or Paul Simon as a solo artist. Either way, you will surely agree that he is among the truly Great American Songwriters.

Meet the Viola

2011-10-12T12:53:00.000-07:00

Bridging the sound gap between the violin and the cello, the viola is the "middle voice" of the violin family. In this family, it also takes on the role of the middle sibling, often overlooked and easily ridiculed. In an orchestra, no member is subjected to as much teasing and mocking as the violist:

How do you keep your violin from getting stolen?
- Put it in a viola case.

Why do violists stand for long periods outside people's houses?
- They can't find the key and they don't know when to come in.

What's the difference between a viola and an onion?
- No one cries when you cut up a viola.

There are dozens of these jokes--but why? Certainly, the viola serves a specific (and valid) purpose. And in fact, many of the great composers (including Beethoven, Bach and Mozart) preferred the viola to the violin when playing in ensembles. Joseph Haydn, Franz Schubert, Felix Mendelssohn and others chose to play the viola throughout history. However, it is true that very little virtuoso viola music was written before the twentieth century. This lack has obviously resulted in a lack of well-known viola virtuosi--and perhaps this explains the quickness with which the instrument is teased. The underdog of the instrumental world, the viola is more a team player than a leader. And while it may be too modest to show off on stage, we'd like to give the viola its moment in the spotlight.

In early orchestral music, the viola was most frequently used for filling in harmonies. It was rarely assigned any melodic material and when it was, the part was often in unison with the melody played by other strings. One famous exception to this is the Brandenburg Concerto No. 6 by J. S. Bach. The piece was scored for 2 violas, a cello, 2 violas da gamba, and continuo (in which the two violas were placed in the primary melodic role.) A few Baroque and Classical concerti were also written for the solo viola. Examples of major viola roles in orchestral music include the Enigma Variations by Edward Elgar and Richard Strauss' "Don Quixote" for solo cello and viola and orchestra.

Historically, the instrument has played a major role in chamber music. Mozart successfully liberated the viola from its traditional confines when he wrote his six string quintets (some of which are still considered to be his greatest works) for two violas. He also wrote for the viola in his Sinfonia Concertante, in which the solo viola and violin are equally important. A set of two duets for violin and viola and the Kegelstatt Trio (for viola, clarinet and piano) are other examples of Mozart's love for the viola. Another pioneer was the young Felix Mendelssohn, who wrote a little-known viola sonata in C minor in 1824. Brahms featured the viola prominently in his earliest works; in fact, his sextets for strings Op. 18 and Op. 36 contain what amounts to solo parts for both violas. Antonín Dvořák played the viola, and even reportedly called it his favorite instrument. Bedřich Smetana, another advocate, included a significant part for the instrument in his quartet "From My Life."

After Dvořák and others paved the way, more 20th-century composers began to write for the viola. Many were inspired by specialized soloists like Lionel Tertis, whose skills on the viola prompted Arthur Bliss, Benjamin Dale and others to compose specially for him. Popular viola concertos were written by William Walton, Bohuslav Martinů and Béla Bartók. Paul Hindemith typically performed the premieres of his own viola works. Rebecca Clarke, Ernest Bloch and Revol Bunin were other great composers who were inspired by the viola. Much more recently, the viola has appeared in contemporary popular music (check out 10,000 Maniacs or John Cale of The Velvet Underground, who plays the electric viola) as well as jazz and folk. Notable folk violists include Eliza Carthy, Mary Ramsey, Helen Bell, and Nancy Kerr. Great spectral composers have also loved the instrument for its lower overtone partials.

While the viola is similar in material and construction to the violin, it is easily distinguished for its larger size. A full-size viola's body is usually between 1 and 4 inches longer than the body of a full-size violin, with an average length of 16 inches. Hermann Ritter's version, the 'viola alta,' was created for use in Wagner's operas; it measured about 18.9 inches long. Meanwhile, the Tertis model was built with wider bouts and deeper ribs to promote a better tone. More recent additions to the mix include the Otto Erdesz 'cutaway' viola, the 'Oak Leaf' viola, five-stringed violas, viol-shaped violas like Joseph Curtin's 'Evia' model, vertical violas that are played like cellos, and the beautiful Dalí-esque models by Bernard Sabatier. These 'non-standard' violas are still used today. However, most composers write for a traditional-sized viola--and changes in size or shape result in changes in tone, which can have unintended consequences upon the balance in an ensemble. Thus, ergonomics vs. sound is a topic of constant discussion within the viola-making community. For centuries, viola makers have experimented with the size and shape to make a lighter and less cumbersome version while also keeping the sound box large enough to create an unmistakable 'viola sound.' This period of trial and error still continues--and so unlike the violin, the viola does not have a standard full size.

Other key features that serve to differentiate the viola from the violin: The viola tends to have heavier strings, and its bow has a wider band of horsehair. The four strings of the viola are normally tuned in fifths, exactly one fifth below the violin and an octave above the cello. Music written for the viola differs from that of other instruments because the viola primarily uses alto clef, which is otherwise rarely used. When substantial sections of a composition are written in a higher register, the viola employs the treble clef.

In 2006, the San Francisco Conservatory of Music launched The Viola Project. Led by Professor of Viola Jodi Levitz, the program was designed to sing the praises of the violin family's unsung hero. There have been other recent attempts at re-introducing (or introducing for the first time) the viola to the public eye. To learn more about the viola and the musicians and composers who have loved it, check out www.viola-in-music.com. And be sure to keep checking back with us at HillTop Records, as we continue to profile instruments of interest!

The Best Halloween Music Festivals 2011

2011-10-07T18:05:00.000-07:00

It may not have well-known carols or organized sing-alongs, but Halloween is a holiday filled with music: Haunted houses use spooky songs to help set the mood, and beloved anthems like Michael Jackson's "Thriller" are played over and over on the radio. There are also many great music festivals this time of year; they range from family-friendly events to adults-only affairs. So if you've already got your costume together but are still looking for something to do this Halloween weekend, consider one of these exciting events. Some are scary; some are not. But they are all sure to be filled with fantastic music.

The Voodoo Music Experience - New Orleans, Louisiana
For three days, the City Park area of New Orleans is taken over by the Voodoo Music Experience. For years, the annual music festival has been drawing gigantic crowds to several main stages and a variety of other tents. Traditionally, the festival grounds--located adjacent to the New Orleans Museum of Art--are divided into three sections: "Le Ritual" features world-famous acts on two main stages, "Flambeau" is dedicated to celebrating New Orleans' unique music culture (be sure to check out the local and international acts in the Preservation Hall tent and on the WWOZ stage) and "Le Carnival" highlights the city's underground arts. Blink-182, Snoop Dogg, Soundgarden, Girl Talk, My Chemical Romance, and other major headliners make this the largest Halloween music festival in the country.

Moogfest - Asheville, North Carolina
An annual ode to all things electronic music, Moogfest continues to grow bigger and bigger each year. This Halloween weekend, the line-up will be truly impressive: the Flaming Lips, Passion Pit, TV on the Radio, Chromeo, Moby, Tangerine Dream, Crystal Castles and more make this three-day concert's tickets the hottest in town. Along with multiple stages and a variety of vendors, this year's Moogfest will be featuring an innovative art installation: 77 Million Paintings by Brian Eno, widely considered the godfather of modern ambient music. Originally conceived as "visual music," the multi-media configurations will be shown in the YMI Cultural Center in downtown Asheville.

The Hangtown Halloween Ball - Placerville, California
The El Dorado County Fairgrounds will soon be magically transformed into a spooky, Halloween-themed world. Visitors are invited to set up camp (literally!) and enjoy great food, beer, wine--and live music. Railroad Earth will be performing for two nights, and other internationally acclaimed acts will be hitting the stage as well. The line-up for 2011 includes Ozomatli, the Funky Meters, 7 Walkers, Elephant Revival, and more. Another highlight of the three-day festival is the Epic late-night hall that can accommodate up to 2,000 partiers--in costume, of course!

HARD Haunted Mansion - Los Angeles, California
It may not really be haunted and it may not really be held in a mansion, but HARD is definitely one of the country's biggest Halloween parties. This year, the music festival will be held in the Shrine Expo Hall in downtown L.A. and it will feature the musical stylings of Fatboy Slim, Major Lazer, Rusko, and other world-famous DJ's and bands. Halloween costumes are not required; however, if you opt out, you will surely be in the minority.

The Great Harvestival - Chico, California
The picturesque Concow Campgrounds are actually located about 30 minutes from the city, against the stunning Sierra Nevada Mountains. This year, the environment will act as the setting for the Great Harvestival, a new event formed to take the place of two festivals on hiatus this year: Bobolink and Las Tortugas. The Great Harvestival will combine elements from both events and feature fantastic live music (by the likes of Hot Buttered Rum, New Monsoon, and Isabella) in a family-friendly atmosphere. The music festival will also have themed camps (including Margaritaville) as well as costume parties, workshops, food and drink vendors, and even free late-night shows.

No matter which part of the country you're in, you are sure to find fun things to do this Halloween. And as 2011 eventually comes to a close, there are bound to be fantastic holiday-themed music festivals near you! Keep checking back in with us here at HillTop Records, as we do our best to keep you updated and in-the-know!

Great American Songwriters: T-Bone Burnett

2011-10-05T13:16:00.000-07:00

His birth name may be Joseph Henry Burnett, but most people know him as T-Bone Burnett. The award-winning songwriter, musician and record producer has been a major player in the music industry for over forty years. His songs have been covered by everyone from Los Lobos to k.d. lang, and he has won Grammy and Academy Awards for his movie soundtracks. No, you probably won't see his face on the cover of Rolling Stone Magazine anytime soon. However, T-Bone Burnett has been helping to shape American music from behind the scenes for quite some time now. He has definitely earned a spot on our HillTop Records list of Great American Songwriters.

Born in St. Louis and raised in Fort Worth, T-Bone began his songwriting career at an early age. He wrote and produced 4 of the 11 tracks on The Unwritten Works of Geoffrey, Etc. as part of the pseudonymous Whistler, Chaucer, Detroit and Greenhill. The album was released under Uni Records in 1968--when Burnett was just 20 years old. That same year, he also produced a collection of 6 songs for a group of friends. At the time, the group called themselves The Case Hardy Boys. They would eventually move to Los Angeles and become known as The Fare, and then as El Roacho. T-Bone himself moved to L.A. in 1972, and recorded his second album that same year. Soon afterwards, he landed a gig as a guitarist for Bob Dylan's Rolling Thunder Revue. Once the tour ended, he and two other members of Dylan's band (Steven Soles and David Mansfield) formed The Alpha Band and released three albums: The Alpha Band and Spark in the Dark in 1977, and The Statue Makers of Hollywood in 1978.

Burnett released his first post-Alpha Band solo album, Truth Decay, in 1980. It was produced by Takoma Records, and its roots rock tracks were categorized by the Rolling Stone Record Guide as "mystic Christian blues." Two years later, his album Trap Door (released by Warner Brothers in 1982) gave T-Bone Burnett his first commercial hit: "I Wish You Could Have Seen Her Dance." Burnett toured after the release of that album, opening several dates for The Who. He then released a series of albums that were all critically acclaimed but not hugely successful commercially. The song "When the Night Falls" off Proof Through the Night (1983) got some airplay, but it was becoming apparent that T-Bone Burnett would not make his biggest contributions to the music industry as a solo artist. To this day, he is best known as a songwriter and producer--and for good reason.

In 1985, T-Bone collaborated with Elvis Costello on "The People's Limousine." Around the same time, he began producing music for some of the most promising and successful artists of that time period: His obvious talents went into Counting Crows' August and Everything After, Los Lobos' How Will the Wolf Survive, the Wallflowers' Bringing Down the Horse, Elvis Costello's King of America and Spike, Spinal Tap's Break Like The Wind, Gillian Welch's Revival and Hell Among the Yearlings, the Roy Orbison tribute A Black & White Night Live as well as the artist's two-record In Dreams: The Greatest Hits, and almost everything by Sam Phillips (Burnett's former wife.)

In 1997, Burnett returned to songwriting in a major way when he composed the original music for Sam Shepard's play The Tooth of Crime: Second Dance. A CD of those songs, featuring guitarist Marc Ribot and vocals by Sam Phillips and singer/songwriter David Poe, was released in 2008. In 2006, he began his first concert tour in nearly two decades in Chicago at The Vic Theater. He was also busy producing albums, like The Story by Brandi Carlile and (most notably) Thunderbird by jazz singer Cassandra Wilson. Burnett produced that entire album, wrote one of the songs, and co-wrote another with Ethan Coen. One of his two Grammy nominations the following year was for Producer of the Year for his work on Thunderbird as well as on the soundtrack to Walk the Line and his own The True False Identity. His other nomination was for his efforts as Executive Music Producer and Album Producer on the Walk the Line soundtrack, which was also nominated for Best Compilation Soundtrack Album for a Motion Picture, Television or Other Visual Media.

Burnett won a Grammy for 2007's Raising Sand, a collaborative album featuring Alison Krauss and Robert Plant that he produced. He also plays guitar on 10 of the 13 tracks. The year following that release, Burnett finally gave a reason for why he had essentially retired from the music business in the mid-1990's to pursue opportunities in theater and film: He had grown dissatisfied with the quality of music processing, during a time when others were beginning to favor brighter and more compressed sound. In 2008, he began a new venture called Code, a new audio format that was created "to do for music what THX did for movie-theater sound: set standards that ensure the best possible quality." Code involves the simultaneous release of multiple sound formats, thus avoiding much of the processing which takes place when sound is converted from one format to another. The first Code album was released on July 15, 2008. It was John Cougar Mellencamp's Life, Death, Love and Freedom, produced by T-Bone Burnett. Burnett also produced the follow-up to that album, No Better Than This.

What makes T-Bone Burnett's still-evolving career so fascinating is its variety. Not one to stick to one title or occupation, Burnett shifts among multiple roles with ease and frequency. He will often write or co-write a song for an album he is producing, or even lend his guitar-playing abilities. He co-wrote "Sulfur to Sugarcane" on Elvis Costello's Secret, Profane & Sugarcane (an album that he produced) and he collaborated with Elton John and Leon Russell on 2010's The Union. Most recently, he has been working with Lisa Marie Presley on her latest album.

T-Bone's contributions to the silver screen are equally impressive. In fact, much of Burnett's most celebrated work has been for film and TV. He wrote songs with River Phoenix for The Thing Called Love (1992) and even acted as the vocal coach for Samantha Mathis. He produced music for the remake of the film All the King's Men, wrote several songs ("I Wish My Baby Was Born", "Like a Songbird That Has Fallen" and "Scarlet Tide") for Cold Mountain, collaborated on music for Crazy Heart (he won a Golden Globe, an Academy Award and a Grammy for "The Weary Kind", which he composed with Ryan Bingham) and composed the score for Don't Come Knocking. He also wrote the score and produced the soundtrack for O Brother, Where Art Thou? That soundtrack--an award-winning mix of traditional American folk music, blues and bluegrass--garnered numerous industry awards and sold over seven million copies.

Although T-Bone Burnett always seems to be wearing more than one hat, he is at his core a songwriter. In 2006, he released two albums: The True False Identity (his first album of new songs since 1992) and Twenty Twenty - The Essential T-Bone Burnett, a 40-song career retrospective. Whether you have learned to love his music listening to an album or sitting in a movie theater, we are sure you will agree that he is among the Great American Songwriters. We know that he has served as an inspiration for many HillTop Records songwriters.

Don't Be Afraid of October's Best Music Festivals...

2011-09-28T18:10:00.000-07:00

The spookiest month of the year, October is best known for the holiday that falls upon its last day--Halloween. However, there is so much fun to be had before then! While the weather may be cooling throughout most parts of the country, there are still plenty of hot and happening music festivals and events. Here are HillTop Records' picks for your best bets this October:

The first of the month, the 2011 installment of the annual Lakeville Arts&Music Festival (10/1/2011) will kick off October in Lakeville, Massachusetts. The line-up is set to feature American blues/rock band Wicked Blue, Starry Night, the Shane Wood Jazz Trio, and Game Shows To Go! There will also be a pie baking contest, arts and crafts exhibits, and a variety of activities for children.

At the same time, the annual Woodstock Tribute Show (10/1/2011 - 10/2/2011) will surely be drawing crowds to Fort Worth, Texas. With performances celebrating the works of Jimi Hendrix, Arlo Guthrie, Santana and Janis Joplin, the two-day concert is sure to be a success.

In Florida, the weather is likely to remain warm throughout the month of October. Take advantage of the friendly climate by attending the Daytona Blues Festival (10/6/2011 - 10/9/2011) in Daytona Beach, Florida or the Fall Palataka Bluegrass Festival (10/6/2011 - 10/8/2011) in Palatka, Florida.

An extension of the ever-popular Pioneer Ag Expo, the 4th Rural Roots Music Gathering (10/7/2011 - 10/9/2011) is a beloved pastime in Fremont, Nebraska. The annual event includes great food and plenty of live music.

The BayFest Music Festival (10/7/2011 - 10/9/2011) in Mobile, Alabama is also worth checking out if you happen to be in that area. Always promising great fun for the whole family, the kid-friendly event will host over 125 local, regional and national artists this year. The musical genres and other activities vary greatly, so there is something for everyone.

The Shrimp and Jazz Fest (10/8/2011 - 10/9/2011) combines two local favorites in Little River, South Carolina. Each year, it features fantastic food, live entertainment, and local arts and crafts vendors.

If you love jazz but won't be in the South, consider checking out the Sun Valley Jazz Jamboree (10/12/2011 - 10/16/2011) in Sun Valley, Idaho instead. Eleven venues around the beautiful Sun Valley Resort will play host to over 200 performers, with 300 shows over five days.

A completely different genre is being celebrated at the Las Vegas Shakedown Rock & Roll Weekend (10/13/2011 - 10/15/2011) in Las Vegas, Nevada. Here you can experience the best in live punk, garage and psychobilly. There will also be a poster art convention, various vendors, burlesque performances, and screenings of b-movie trailers throughout the weekend.

Other great music festivals to keep an eye out for in October:

- the Mountain Music Jamboree (10/14/2011 - 10/15/2011) in Maggie Valley, North Carolina

- the Treasure Island Music Festival (10/15/2011 - 10/16/2011) in San Francisco, California

- the Jazz-By-the-Bay Festival (10/21/2011 - 10/22/2011) in Panama City, Florida

- the Pocono Mountains Elvis Festival (10/21/2011 - 10/23/2011) in Bushkill, Pennsylvania

- the Texas Jazz Festival (10/21/2011 - 10/23/2011) in Corpus Christi, Texas

- the Annual Americana Jazz Festival (10/22/2011) in New York, New York

- the Houston Womens Music Festival (10/22/2011) in Houston, Texas

- the Sankusem African Music & Dance Festival (10/28/2011 - 10/30/2011) in Leavenworth, Washington

For more information on upcoming music festivals and events around the country, check out Festivals.com. Also be sure to keep checking back with us here at HillTop Records as we continue to highlight the best of the best!

What's Happening In Music In: Denver

2011-09-21T10:44:00.000-07:00

Perched above the Midwestern plains, amid the Rocky Mountains, the "The Mile-High City" offers much more than spectacular views. Denver, Colorado is the state's capital and its largest city; as such, it acts as a major hub of culture and entertainment. Art, sports, cuisine, education--these are easy to find in Denver, as is (perhaps surprisingly) a fantastic music scene. While it may not be as renowned as those found in New York City or Los Angeles, Denver's music scene is quite diverse and exciting. It spans a wide variety of genres, and is definitely worth a spot on our HillTop Records' list of great American music scenes.

The music scene of Denver first picked up speed in the 1960's, which is when American folk music rose in popularity. Stars-on-the-rise like Judy Collins drew crowds to the city's old folk clubs and local bars. Coinciding with a serendipitous population boom, Denver's folk scene began to attract national attention. Just as the folk boom of the sixties began to dwindle, it was immediately followed by an equally exciting country music boom. Throughout the early seventies and beyond, country legends like John Denver (who, yes, named himself after the city in which he got his start) left their indelible marks on American music. The following decade, the city of Denver seemed to shift its focus onto pop music. The local metal scene grew considerably during the eighties; however, genres like funk, R&B, jazz-fusion and hip hop became even more popular. Nineties pop, thrash and especially grunge were embraced by Denver. The growing melting pot also incorporated underground shock rock, Industrial metal, and other niche genres. At the same time, punk music became popular--and it remains so to this day.

During this period of rapid expansion and acceptance, Denver's multi-faceted music scene did seem to favor particular genres over others. One style of music that became especially popular during the late nineties was the "jam band" genre. A logical fusion during a time when jazz/funk and indie communities were competing with a growing metal scene, jam-style music seemed to satisfy the needs of a wider audience. The revolution took hold, using methods common in sixties psychedelic groups and fusion artists like Frank Zappa and Jimi Hendrix. A fluid and hard-to-define genre, it is comprised of a group of artists (oftentimes from different genres) casually "jamming" for extended periods of time. Local country music and "stoner metal" also became key components of this renaissance. At the same time, "southern" or "country" gothic (a style of dark and brooding Americana with elements of folk, country and southern gospel mixed in) found an audience in Denver. Its popularity can be attributed almost single-handedly to David Eugene Edwards and his band 16 Horsepower, as well as the bands started by former members of the original.

If your musical tastes lean more towards the classical, don't worry--Denver has something for you as well! The city is home to a number of performing ensembles dedicated to keeping classical music alive in the community. Check out the Colorado Symphony Orchestra (the state's only full-time professional orchestra) and the Denver Philharmonic Orchestra (formerly the Centennial Philharmonic.) The Colorado Wind Ensemble, The Denver Brass and youth ensembles like the Denver Young Artists Orchestra, the Colorado Youth Symphony Orchestra, and the Colorado Honor Band Association are also doing great things in Denver.

Well-known concert venues include Boettcher Concert Hall (home to the Colorado Symphony Orchestra) and the Denver Center for the Performing Arts, both located within the Denver Performing Arts Complex (the second largest performing arts center in the U.S. after Lincoln Center in New York!) The 2,225-seat Ellie Caulkins Opera House, opened in 2005, is also part of the gigantic complex. The Fillmore Auditorium (a former roller rink in the Capitol Hill neighborhood) and the Ogden Theater (a gem from 1917 listed on the National Register of Historic Places) in City Park West are also among Denver's most famous venues. The Coors Amphitheater in Englewood, Comfort Dental Amphitheatre in Greenwood Village, Mercury Cafe, and the incredible open-air Red Rocks Amphitheatre in Morrison are other great places to go to experience live music in the Denver area.

On an even grander scale, music festivals in Denver range from Denver Days of Rock (a gigantic charity event typically held over Memorial Day Weekend) to the Denver Mariachi Festival (a lively series of workshops and concerts featuring world-class mariachi groups and ballet folkloricos.) The Evergreen Jazz Festival, held in July, is also a wonderful annual event in the Denver area.

To find out more about the Denver music scene, including information on upcoming events and bands to watch, check out one of the city's many online guides. The Denver Westword, Mile High City online, and (of course) Denver-Music-Scene.com are excellent resources. Of course, here on our official HillTop Records blog, we will also do our best to keep you in-the-know!

Great American Songwriters: Johnny Cash

2011-09-14T11:31:00.000-07:00

One of the most influential musicians of the 20th century, Johnny Cash (February 26, 1932 – September 12, 2003) has been called "the philosopher-prince of American country music". Although he is primarily remembered for his contributions to that genre, his repertoire as a whole holds great crossover appeal--so much so that in his lifetime, Cash was inducted into the Country Music Hall of Fame, the Rock and Roll Hall of Fame, and the Gospel Music Hall of Fame. And here, we'll add him to another list: the HillTop Records blog series on Great American Songwriters.

The late, great Johnny Cash was born the fourth of seven children in Kingsland, Arkansas. Growing up, he went by the name J.R. (an abbreviated version of his birth name, which was John R. Cash.) It was not until he was in his early 20's, when he was signed to Sun Records, that he adopted the stage name that he is still known by today. Many years before that, however, young J.R. began working in the Arkansas cotton fields with his family at the age of 5. The Great Depression was the backdrop for his childhood, and the boy experienced great struggle and heartache at a young age. These stories were later told through Cash's music--music that was loved across the country for its ability to capture the American spirit.

Growing up, Cash was greatly influenced by gospel music, traditional Irish music, and the songs he heard on the radio. It was his mother, Carrie Cloveree Rivers, who taught him how to play the guitar and write songs. In high school, he sang on a local radio station. After graduation, he enlisted in the U.S. Air Force and worked as a code intercept operator for Soviet Army transmissions at Landsberg, Germany. In fact, he was the first radio operator to pick up the news of the death of Joseph Stalin. It was during this time that he also formed his first band: The Landsberg Barbarians.

Upon being honorably discharged as a Staff Sergeant, Cash married his first wife (Vivian Liberto) and moved to Memphis. There he studied to be a radio announcer while selling appliances to pay the bills. He also began to play with guitarist Luther Perkins and bassist Marshall Grant, who were together known as the Tennessee Two. The first time he auditioned for Sam Phillips of Sun Records in the hopes of landing a record deal, he sang mostly gospel songs--and was turned away. It wasn't until he had transitioned into his early rockabilly style that he eventually won over the producer. One fateful day--December 4, 1956--Elvis Presley unexpectedly stopped by the studio while Carl Perkins was cutting new tracks, with Jerry Lee Lewis backing him on piano. Johnny Cash just so happened to be there as well, and the four of them started an impromptu jam session. Phillips left the tapes running and the recordings (almost half of which were gospel songs) have since been released as the Million Dollar Quartet.

Soon after that serendipitous encounter, Cash's "Folsom Prison Blues" made the Top 5 on the country music charts--and "I Walk the Line" climbed to the No. 1 spot! These milestones were immediately followed by "Home of the Blues." Johnny Cash was officially a celebrity, and the most successful and prolific artist at Sun Records at that time. Feeling he had outgrown the small label, Cash left Sun to accept a huge offer at Columbia Records. It was there that he recorded "Don't Take Your Guns to Town." In the early '60's, he toured with the Carter Family (which included June, who would later become his second and last wife) and began his acting career in a film called Five Minutes to Live (for which he also wrote and sang the opening theme song.) Around the same time, his rendition of "Ring of Fire" became a crossover hit. It reached No. 1 on the country music charts, and entered the Top 20 on the pop charts. Next came a string of concept albums: Bitter Tears honored the plight of the Native Americans in 1964, and Ballads of the True West combined authentic frontier songs with spoken narration in 1965. Two years later, his duet with June Carter, "Jackson," won him his first Grammy.

As widely known and loved as he was for his great music, Johnny Cash had also cultivated another claim to fame: a romantic and dangerous outlaw image. While he had never spent more than a single night in prison himself, Cash felt a lot of compassion for prisoners. He showed this by performing a series of concerts at various prisons, starting in 1958 at San Quentin State Prison. This particular concert led to a pair of highly successful live albums--Johnny Cash at Folsom Prison (1968) and Johnny Cash at San Quentin (1969). The first was introduced by a rendition of his classic "Folson Prison Blues", and the second included "A Boy Named Sue" (a crossover hit single written by Shel Silverstein.) Cash did not limit his prison tour to the United States; in 1972, he performed at Österåker Prison in Sweden. The live album of this, which features Cash speaking Swedish in between songs, was released the following year.

Capitalizing on the superstar's nationwide popularity, ABC gave Johnny Cash his own television show. The Johnny Cash Show ran from 1969-1971 and featured guest appearances by the Statler Brothers, Neil Young, Kenny Rogers, Louis Armstrong, Ray Charles, Eric Clapton, James Taylor and Bob Dylan, as well as his old friend Carl Perkins and the Carter Family. The show helped to launch the careers of several great songwriters--and also to introduce Cash's new persona to the public: "The Man in Black." To help explain the meaning behind his new dress code, the singer/songwriter wrote the now-famous song that includes the following lyrics:

We're doing mighty fine I do suppose
In our streak of lightning cars and fancy clothes
But just so we're reminded of the ones who are held back
Up front there ought to be a man in black.

Despite a significant decline in his popularity and record sales, Johnny Cash continued to tour successfully. In 1980, he became the Country Music Hall of Fame's youngest living inductee at the age of 48. In the mid '80's, he recorded and toured with Waylon Jennings, Willie Nelson and Kris Kristofferson. The group called themselves The Highwaymen, and they released three hit albums together. Cash also continued to act in films and on TV, and that vocation was for the first time eclipsing his music career. In '86, Cash left Columbia and returned to Sun Studios. There he teamed up with Roy Orbison, Jerry Lee Lewis and Carl Perkins to record Class of '55. Around the same time, Johnny Cash published his only novel: Man in White, about Saul and his conversion to become the Apostle Paul. In 1990, he recorded Johnny Cash Reads The Complete New Testament.

Johnny Cash's musical career had officially peaked. Aside from a few guest appearances on other artists' albums and a collection of covers of contemporary songs, not much was heard from Cash after the early '90's. His American Recordings (1994) did, however, win a Grammy for Best Contemporary Folk Album--and Unchained (which featured the accompaniment of Tom Petty and the Heartbreakers) won for Best Country Album in 1996.

Throughout his lifetime, Johnny Cash accumulated an astounding array of awards and accolades. They include the 1999 Grammy Lifetime Achievement Award, and the No. 31 spot on Rolling Stone Magazine's list of the 100 Greatest Artists of All Time in 2004. His groundbreaking music influenced countless other artists (including many of our own HillTop Records songwriters) and even entire genres. His rebellious image and often anti-authoritarian stance helped to pave the way for the modern punk rock movement, and his contributions to American country music are immeasurable. He wrote over 1,000 songs and released dozens of albums. He collaborated with many other musicians, and he loyally defended those whose works were on the fringe of what was socially acceptable or popular. A pioneer, an outlaw, an artist in the truest sense--Johnny Cash will always be remembered as one of the greatest American songwriters.

Usher In Fall With September's Best Music Festivals

2011-09-09T08:30:00.000-07:00

Labor Day Weekend has come and gone, and with it the 2011 Summer Season. There were many fantastic music festivals this past summer, including one of our very own! We are pleased to announce that the First Annual HillTop Records Online Music Festival for Songwriters was a success. Steve Euto-Mullis took home the Festival Blue Ribbon and the Grand Prize of $1000 for his song "The Master of the Sky." To hear it and the Festival's other award-winning songs, check out the official website. We plan to hold another Online Music Festival for Songwriters next year. In the meantime, here are some great events to keep you going through the month of September:

This coming weekend, to commemorate the 10th anniversary of 9/11, the city of Hampton, Georgia is hosting the Heroes Music Festival (9/8/2011 - 9/11/2011). The event is set to combine themes of patriotism, military, education and music to honor those who lost their lives on that tragic day--and, of course, those who continue to sacrifice for their country. As far as the music goes, it will be divided by genre--so plan your visit accordingly. Thursday will feature country acts, Friday will showcase blues and southern rock, Saturday's soundtrack will be mostly modern rock, and Sunday will be filled with Christian and family music.

Also this coming weekend, the Miles of Memories Country MusicFest & Rally (9/8/2011 - 9/10/2011) will be livening up the Adams County Fairgrounds in Hastings, Nebraska. From fiddles to dobros, bluegrass to cowboy tunes, the festival promises to have something for everyone--everyone who likes country music, that is!

Blues at the Crossroads (9/9/2011 - 9/10/2011) is an annual celebration in Terre Haute, Indiana. The one-day event includes live music, food, cultural events, art, and more.

On the East Coast this weekend? Then get yourself to the Catskill Chill Music, Camping and Arts Festival (9/9/2011 - 9/11/2011) in Hancock, New York. On a peaceful lakeside campground miles outside of the city, this low-key music festival might be relaxing--but it is far from dull. Attendees will be able to enjoy the “Club Chill” DJ stage, morning yoga classes, food vendors, clothing and craft vendors, a bonfire drum circle, an open mic stage, free parking and free camping with paid admission.

The Kempton Music Festival - Pinnacle Jam (9/9/2011 - 9/11/2011) in Kempton, Pennsylvania is also sure to be a great time, what with its two days and nights of genre-crossing live acts. Americana, Blues, Bluegrass, Newgrass, Jam Rock, and straight up Rock and Roll will all be well represented.

On the other hand, the Kettle Moraine Jazz Festival (9/9/2011 - 9/10/2011) in West Bend, Wisconsin will be focused on one particular genre. Along with live jazz, it will feature international cuisine, an arts marketplace, and interactive sponsor exhibits.

Residents of Lebanon, Oregon will be spending this weekend in the great outdoors, thanks in part to the Roots & Rhythms Summer Festival (9/9/2011 - 9/10/2011). This one-of-a-kind event was specially created to honor solo musicians and groups who made significant contributions to rock and roll and the blues in the 1960s. The tribute to John Lennon is sure to be a highlight.

The Albany Riverfront Jazz Festival (9/10/2011) is a much-loved annual tradition, and it is set to take place in Albany, New York again this Saturday.

... And that's just this coming weekend! Later on in the month, we've got these exciting music festivals to look forward to:

- the Hillside Bluegrass Music Festival (9/15/2011 - 9/17/2011) in Cochran, Georgia

- the American River Music Festival (9/16/2011 - 9/18/2011) in Coloma, California

- the Monterey Jazz Festival (9/16/2011 - 9/18/2011) in Monterey, California

- MusicFest (9/16/2011 - 9/18/2011) in Clark, New Jersey

- the AT&T Acoustic Music Festival (9/17/2011) in Norfolk, Virginia

- the Ed Haley Old Time Fiddle Festival (9/17/2011) in Ashland, Kentucky

- the Julian Mountain Music Jamboree & Banjo/Fiddle Contest (9/17/2011 - 9/18/2011) in Julian, California

- the Jam'n Bluegrass Style festival (9/18/2011 - 9/19/2011) in Salemburg, North Carolina

- Rock the Green (9/18/2011), the first environmentally responsible music event in Milwaukee, Wisconsin

- the International Folk Festival (9/23/2011 - 9/25/2011) in Fayetteville, North Carolina

- the Treasure Coast Music Festival (9/23/2011 - 9/25/2011) in Vero Beach, Florida

- the 2nd Annual Love Music Fest (9/24/2011 - 9/25/2011) in Hernando, Mississippi

- the Kekoka Music Festival (9/24/2011) in Kilmarnock, Virginia

- the Russian River Blues Festival (9/24/2011 - 9/25/2011) in Guerneville, California

- the Ojai World Music Festival (9/30/2011 - 10/2/2011) in Ojai, California

For more information on these and other upcoming music events, check out Festivals.com. And, as always, keep checking back with us here at HillTop Records!

"The Importance of Music" by Dr. Karl Paulnack

2011-09-07T11:07:00.000-07:00

To commemorate the tenth anniversary of one of the darkest days in our country's history, we'd like to share with you all a speech by Dr. Karl Paulnack, professional pianist and the Director of Music Divison at The Boston Conservatory. The welcome address was given to the parents of incoming students on September 1, 2004. In it, Dr. Paulnack explains why music is such an important part of the healing process--and of life in general. While it may feel trivial in times of great tragedy and death, the act of creating music is anything but. In fact, it is during those darkest of days that music becomes more important than ever.

“One of my parents’ deepest fears, I suspect, is that society would not properly value me as a musician, that I wouldn’t be appreciated. I had very good grades in high school, I was good in science and math, and they imagined that as a doctor or a research chemist or an engineer, I might be more appreciated than I would be as a musician. I still remember my mother’s remark when I announced my decision to apply to music school-she said, “you’re wasting your SAT scores!” On some level, I think, my parents were not sure themselves what the value of music was, what its purpose was. And they loved music: they listened to classical music all the time. They just weren’t really clear about its function. So let me talk about that a little bit, because we live in a society that puts music in the “arts and entertainment” section of the newspaper, and serious music, the kind your kids are about to engage in, has absolutely nothing whatsoever to do with entertainment, in fact it’s the opposite of entertainment. Let me talk a little bit about music, and how it works.

One of the first cultures to articulate how music really works were the ancient Greeks. And this is going to fascinate you: the Greeks said that music and astronomy were two sides of the same coin. Astronomy was seen as the study of relationships between observable, permanent, external objects, and music was seen as the study of relationships between invisible, internal, hidden objects. Music has a way of finding the big, invisible moving pieces inside our hearts and souls and helping us figure out the position of things inside us. Let me give you some examples of how this works.

One of the most profound musical compositions of all time is the Quartet for the End of Time written by French composer Olivier Messiaen in 1940. Messiaen was 31 years old when France entered the war against Nazi Germany. He was captured by the Germans in June of 1940 and imprisoned in a prisoner-of-war camp.

He was fortunate to find a sympathetic prison guard who gave him paper and a place to compose, and fortunate to have musician colleagues in the camp, a cellist, a violinist, and a clarinetist. Messiaen wrote his quartet with these specific players in mind. It was performed in January 1941 for four thousand prisoners and guards in the prison camp. Today it is one of the most famous masterworks in the repertoire.

Given what we have since learned about life in the Nazi camps, why would anyone in his right mind waste time and energy writing or playing music? There was barely enough energy on a good day to find food and water, to avoid a beating, to stay warm, to escape torture-why would anyone bother with music? And yet-even from the concentration camps, we have poetry, we have music, we have visual art; it wasn’t just this one fanatic Messiaen; many, many people created art. Why? Well, in a place where people are only focused on survival, on the bare necessities, the obvious conclusion is that art must be, somehow, essential for life. The camps were without money, without hope, without commerce, without recreation, without basic respect, but they were not without art. Art is part of survival; art is part of the human spirit, an unquenchable expression of who we are. Art is one of the ways in which we say, “I am alive, and my life has meaning.”

In September of 2001 I was a resident of Manhattan. On the morning of September 12, 2001 I reached a new understanding of my art and its relationship to the world. I sat down at the piano that morning at 10 AM to practice as was my daily routine; I did it by force of habit, without thinking about it. I lifted the cover on the keyboard, and opened my music, and put my hands on the keys and took my hands off the keys. And I sat there and thought, does this even matter? Isn’t this completely irrelevant? Playing the piano right now, given what happened in this city yesterday, seems silly, absurd, irreverent, pointless. Why am I here? What place has a musician in this moment in time? Who needs a piano player right now? I was completely lost.
And then I, along with the rest of New York, went through the journey of getting through that week. I did not play the piano that day, and in fact I contemplated briefly whether I would ever want to play the piano again. And then I observed how we got through the day.

At least in my neighborhood, we didn’t shoot hoops or play Scrabble. We didn’t play cards to pass the time, we didn’t watch TV, we didn’t shop, we most certainly did not go to the mall. The first organized activity that I saw in New York, on the very evening of September 11th, was singing. People sang. People sang around fire houses, people sang “We Shall Overcome”. Lots of people sang America the Beautiful. The first organized public event that I remember was the Brahms Requiem, later that week, at Lincoln Center, with the New York Philharmonic. The first organized public expression of grief, our first communal response to that historic event, was a concert. That was the beginning of a sense that life might go on. The US Military secured the airspace, but recovery was led by the arts, and by music in particular, that very night.

From these two experiences, I have come to understand that music is not part of “arts and entertainment” as the newspaper section would have us believe. It’s not a luxury, a lavish thing that we fund from leftovers of our budgets, not a plaything or an amusement or a pass time. Music is a basic need of human survival. Music is one of the ways we make sense of our lives, one of the ways in which we express feelings when we have no words, a way for us to understand things with our hearts when we can’t with our minds.

Some of you may know Samuel Barber’s heart wrenchingly beautiful piece Adagio for Strings. If you don’t know it by that name, then some of you may know it as the background music which accompanied the Oliver Stone movie Platoon, a film about the Vietnam War. If you know that piece of music either way, you know it has the ability to crack your heart open like a walnut; it can make you cry over sadness you didn’t know you had. Music can slip beneath our conscious reality to get at what’s really going on inside us the way a good therapist does.

Very few of you have ever been to a wedding where there was absolutely no music. There might have been only a little music, there might have been some really bad music, but with few exceptions there is some music. And something very predictable happens at weddings-people get all pent up with all kinds of emotions, and then there’s some musical moment where the action of the wedding stops and someone sings or plays the flute or something. And even if the music is lame, even if the quality isn’t good, predictably 30 or 40 percent of the people who are going to cry at a wedding cry a couple of moments after the music starts. Why? The Greeks. Music allows us to move around those big invisible pieces of ourselves and rearrange our insides so that we can express what we feel even when we can’t talk about it. Can you imagine watching Indiana Jones or Superman or Star Wars with the dialogue but no music? What is it about the music swelling up at just the right moment in ET so that all the softies in the audience start crying at exactly the same moment? I guarantee you if you showed the movie with the music stripped out, it wouldn’t happen that way. The Greeks. Music is the understanding of the relationship between invisible internal objects.

I’ll give you one more example, the story of the most important concert of my life. I must tell you I have played a little less than a thousand concerts in my life so far. I have played in places that I thought were important. I like playing in Carnegie Hall; I enjoyed playing in Paris; it made me very happy to please the critics in St. Petersburg. I have played for people I thought were important; music critics of major newspapers, foreign heads of state. The most important concert of my entire life took place in a nursing home in a small Midwestern town a few years ago.

I was playing with a very dear friend of mine who is a violinist. We began, as we often do, with Aaron Copland’s Sonata, which was written during World War II and dedicated to a young friend of Copland’s, a young pilot who was shot down during the war. Now we often talk to our audiences about the pieces we are going to play rather than providing them with written program notes. But in this case, because we began the concert with this piece, we decided to talk about the piece later in the program and to just come out and play the music without explanation.

Midway through the piece, an elderly man seated in a wheelchair near the front of the concert hall began to weep. This man, whom I later met, was clearly a soldier-even in his 70′s, it was clear from his buzz-cut hair, square jaw and general demeanor that he had spent a good deal of his life in the military. I thought it a little bit odd that someone would be moved to tears by that particular movement of that particular piece, but it wasn’t the first time I’ve heard crying in a concert and we went on with the concert and finished the piece.

When we came out to play the next piece on the program, we decided to talk about both the first and second pieces, and we described the circumstances in which the Copland was written and mentioned its dedication to a downed pilot. The man in the front of the audience became so disturbed that he had to leave the auditorium. I honestly figured that we would not see him again, but he did come backstage afterwards, tears and all, to explain himself.

What he told us was this: “During World War II, I was a pilot, and I was in an aerial combat situation where one of my team’s planes was hit. I watched my friend bail out, and watched his parachute open, but the Japanese planes which had engaged us returned and machine gunned across the parachute chords so as to separate the parachute from the pilot, and I watched my friend drop away into the ocean, realizing that he was lost. I have not thought about this for many years, but during that first piece of music you played, this memory returned to me so vividly that it was as though I was reliving it. I didn’t understand why this was happening, why now, but then when you came out to explain that this piece of music was written to commemorate a lost pilot, it was a little more than I could handle. How does the music do that? How did it find those feelings and those memories in me?”

Remember the Greeks: music is the study of invisible relationships between internal objects. The concert in the nursing home was the most important work I have ever done. For me to play for this old soldier and help him connect, somehow, with Aaron Copland, and to connect their memories of their lost friends, to help him remember and mourn his friend, this is my work. This is why music matters.

What follows is part of the talk I will give to this year’s freshman class when I welcome them a few days from now. The responsibility I will charge your sons and daughters with is this:

“If we were a medical school, and you were here as a med student practicing appendectomies, you’d take your work very seriously because you would imagine that some night at two AM someone is going to waltz into your emergency room and you’re going to have to save their life. Well, my friends, someday at 8 PM someone is going to walk into your concert hall and bring you a mind that is confused, a heart that is overwhelmed, a soul that is weary. Whether they go out whole again will depend partly on how well you do your craft.

You’re not here to become an entertainer, and you don’t have to sell yourself. The truth is you don’t have anything to sell; being a musician isn’t about dispensing a product, like selling used cars. I’m not an entertainer; I’m a lot closer to a paramedic, a firefighter, a rescue worker. You’re here to become a sort of therapist for the human soul, a spiritual version of a chiropractor, physical therapist, someone who works with our insides to see if they get things to line up, to see if we can come into harmony with ourselves and be healthy and happy and well.

Frankly, ladies and gentlemen, I expect you not only to master music; I expect you to save the planet. If there is a future wave of wellness on this planet, of harmony, of peace, of an end to war, of mutual understanding, of equality, of fairness, I don’t expect it will come from a government, a military force or a corporation. I no longer even expect it to come from the religions of the world, which together seem to have brought us as much war as they have peace. If there is a future of peace for humankind, if there is to be an understanding of how these invisible, internal things should fit together, I expect it will come from the artists, because that’s what we do. As in the concentration camp and the evening of 9/11, the artists are the ones who might be able to help us with our internal, invisible lives.”

Karl Paulnack

Great American Songwriters: Roy Orbison

2011-08-31T16:30:00.000-07:00

Famous for his distinctive voice and complex compositions, Roy Orbison still lives on posthumously through his music. The American singer/songwriter left behind an impressive legacy, comprised of such international hits as "Only The Lonely" and "Oh Pretty Woman." These and other songs place him on HillTop Records' list of Great American Songwriters.

Originally from a small city in Texas, Orbison later described his childhood as being full of "football, oil fields, oil, grease and sand." However, on his sixth birthday, young Roy's life became filled with something else when his father gave him a guitar. By the age of seven, he "was finished, you know, for anything else"; music had already changed him forever. He was exposed to many genres at an early age: While Hank Williams and Jimmie Rodgers were among his first idols, he also listened to rhythm and blues, Tex-Mex, orchestral Mantovani, and zydeco. When he was eight, Roy appeared on a local radio show; only a few years later, he was the host. In high school, Orbison sang in a rockabilly/country & western band that he formed with his friends. The Wink Westerners, as they were called after their home town, provided the otherwise shy teenager with a much-needed outlet. When the group was offered $400 to play at a school dance, Orbison realized that music could be more than a hobby--it could be a way to make a living as well. However, even after he decided to become a professional musician, Orbison remained practical: He enrolled at North Texas State College with plans to study geology so that he could work in the oil fields if music didn't pan out. When his classmate Pat Boone landed himself a record deal, Orbison became more determined to do the same--and he eventually did, with his band The Teen Kings. That first contract, with Sun Records in Memphis in 1956, was the first big step in Roy Orbison's musical career.

The Teen Kings' first record, produced by Sun Records' Sam Phillips, reached number 59 on the Billboard Hot 100. They toured with Johnny Cash, Johnny Horton and Sonny James, and even after the band split up, Orbison found himself in an elite social circle. While living a glamorous life alongside Elvis Presley and other legends, Orbison continued to write music. However, that music was not always met with approval. In fact, after hearing a ballad Orbison wrote called "The Clown," Sun Records producer Jack Clement declared that the songwriter would never make it as a ballad singer. Growing frustrated with his record label, Roy Orbison experienced a decline in his success. For a while, he even stopped writing altogether. He struggled with finding his artistic voice, and also with the extreme shyness that had haunted him since childhood. But these setbacks were followed by serendipitous meetings with executives at RCA and Monument in Nashville. And just like that, Roy Orbison was back in the game.

While recording "Uptown" at RCA's Nashville studio in 1959, Orbison and his team experimented with close miking and doo-wop backup singers. The songwriter also requested three violinists to be brought in. Fellow songwriter and collaborator Joe Melson later recalled, "We stood in the studio, listening to the playbacks and thought it was the most beautiful sound in the world". They had paved the way for "Only The Lonely," which would be recorded the following year. The songs recorded by Orbison during this pivotal time in Nashville "brought a new splendor to rock", according to The Rolling Stone Illustrated History of Rock and Roll. However, right when Roy Orbison was finally hitting his stride, the entire '50's rock scene appeared to collapse. Many of the greats were suddenly dead, disgraced, in prison or the army--and rock and roll was being replaced by pop music at an alarming rate. Orbison was forced to change direction to survive--and in doing so, he created one of his greatest hits.

"Only The Lonely" was written in 1960 by Orbison and Melson. After unsuccessfully pitching the song to Elvis Presley and the Everly Brothers, Orbison decided to record it himself. In the studio, the team tried a brand-new strategy: building the mix from the top down, rather than from the bottom up. The resulting combination became Orbison's trademark sound, thanks to the staggering success of the single. It shot up to the number 2 spot on the U.S. Hot 100, and even reached number 1 in the U.K. and Australia. Suddenly, Roy Orbison was famous--and not just for his songwriting ability. It was his unique voice that finally made him an international star. After that, every song he wrote with Melson was specifically written with his voice in mind.

Major milestones that immediately followed include an appearance on "American Bandstand," a three-month non-stop tour with Patsy Cline, and the release of hit singles like "Blue Angel," "Claudette" (written for Orbison's wife) and "I'm Hurtin'." Next, Orbison went on to write and record "Running Scared," both a departure and challenge for the singer/songwriter. As the story goes, Orbison had difficulty reaching the song's highest note without his voice breaking. Despite the best efforts of the accompanying orchestra and even an attempt at a makeshift isolation booth made of coat racks, Orbison could not get his voice to hit the falsetto note he wanted. Eventually, out of sheer frustration, he finally sang the final high G sharp naturally--and the results were astonishing. Monument producer Fred Foster later recalled, "He did it, and everybody looked around in amazement. Nobody had heard anything like it before."

Roy Orbison had finally fully developed his voice, and a long list of hit songs followed. "Crying" reached the number 2 spot in 1961, and "Candy Man" (written for Orbison by Fred Neil) stayed on the charts for two months. "Dream Baby (How Long Must I Dream?)", "The Crowd", "Leah" and "Workin' For the Man" followed suit. Orbison eventually ended his songwriting partnership with Melson in the hopes of launching a solo career. Around the same time, he accidentally created an onstage persona: The dark clothing and sunglasses he chose to wore inadvertently labeled him a "man of mystery." His shy and sometimes brooding personality, soulful singing voice and penchant for lovelorn ballads added to the overall effect. Years later, Orbison said of his image: "I wasn't trying to be weird, you know? I didn't have a manager who told me to dress or how to present myself or anything. But the image developed of a man of mystery and a quiet man in black somewhat of a recluse, although I never was, really."

In the early 1960's, Orbison released a long series of successful songs and was asked to go on tour with The Beatles. The tour took him across the globe and as soon as it ended, he set off once again with The Beach Boys. He also performed with The Rolling Stones in Australia, and collaborated with Bill Dees on "It's Over." In the middle of writing, the pair were interrupted by Orbison's wife Claudette. She announced that she was headed out, and Orbison asked if she needed money. Dees quipped, "Pretty woman never needs any money." Forty minutes later, "Oh Pretty Woman" was born. It went on to sell over seven million copies, and stayed on the U.S. charts for an impressive fourteen weeks.

Just as his career hit its highest peak, Orbison's personal life took a nose dive. Divorced from his wife, the songwriter also made some drastic changes in his work. He left Monument for MGM, under the impression that he would follow in Elvis' footsteps and eventually expand into TV and film. Instead, his popularity began to decline. The British Invasion was in full swing, and his efforts at acting for film were met with harsh criticism. After Claudette (with whom Roy had reunited) was tragically killed in an automobile accident, Orbison threw himself into his work--but his work appeared to be suffering as much as he was. He continued to tour and release albums, but neither revived his career. It wasn't until the 1970's, when a handful of major celebrities began to cover his songs, that Roy Orbison was finally put back into the public eye. In 1980, he and Emmylou Harris recorded a duet--"That Lovin' You Feelin' Again"--and won a Grammy for it. It was Orbison's first such award.

In the late '80's, Roy Orbison's career finally experienced a major revival. He and k.d. lang won a Grammy for their rendition of "Crying," and his re-recorded "Life Fades Away" was featured in the film Less Than Zero. David Lynch also asked Orbison for permission to use one of his songs ("In Dreams") in his film Blue Velvet. Orbison refused, and was initially upset with Lynch used the song anyway. However, it proved to be a great move for his rebooted career. The same year, Orbison was inducted into the Nashville Songwriters Hall of Fame and initiated into the Rock and Roll Hall of Fame by none other than Bruce Springsteen. A few months later, Orbison and Springsteen performed in Los Angeles together--along with Bonnie Raitt, Tom Waits, Elvis Costello, T-Bone Burnett, Jennifer Warnes and k.d. lang. The concert was filmed, and it sold 50,000 copies. However, it was not Orbison's most famous collaboration; that did not happen until 1987. Along with George Harrison, Tom Petty and Bob Dylan, Orbison wrote a hit single--and then an entire album. Traveling Wilburys Vol. 1 was included by Rolling Stone in its list of the top 100 albums of the decade.

Roy Orbison suddenly died of a heart attack in 1988, right at the second peak of his musical career. While many might say that the singer/songwriter left the world too soon, he managed to leave behind so much more than most. His onstage persona, real-life personality, incredible voice and unique writing style (in terms of both theme and structure) left an indelible impact on the American music scene. We know he influenced many of today's greatest songwriters, including our very own here at HillTop Records.

Performance Rights Organizations: Who, What, When, How, Why

2011-08-24T15:57:00.000-07:00

Here at HillTop Records, we’ve been getting a lot of letters from our songwriters asking about Performance Rights Organizations. Who are they? What do they do? Who can join? Should I join? Which one should I join? We understand that this can be a confusing part of the music industry, and we’d like to help clarify as much as we can. So in the same way that we explained royalties in a previous post, we will attempt to break down the PROs.

Who
In the United States, there are three performance rights organizations: ASCAP, BMI and SESAC. Of these, SESAC is by far the most difficult to join—unless, of course, you are already enjoying great success in your songwriting and publishing career. Until that happens, your options are most likely limited to BMI and ASCAP. ASCAP was founded by composers, authors and music publishers—and these are the people who still run the organization today. BMI is, on the other hand, run by broadcasters. Many songwriters ask which of the two PRO’s they should join, but the answer really lies in your own personal preference. Both ASCAP and BMI are highly competitive entities, and both are well respected in the music industry.

What
All three U.S. PRO’s perform the same functions: They license public performances of their members’ music (including on TV, radio, in nightclubs, on web/podcasts, in stores and restaurants, and in other public venues) and collect performing rights royalties on behalf of members. They distribute those royalties to their members, minus any administration costs. PRO’s only deal with non-dramatic (ie. not musical theater) performing rights, and they do not handle other types of royalties (like mechanical or synchronization royalties.)

When
As it is the PRO’s job to collect and distribute royalties, the organization must also monitor its members’ music. Whenever a song is played on the radio, the PRO to which the owner of the song belongs is in charge of obtaining the royalty fee. The same goes for whenever a song is played on a TV show or in a film (typically on the soundtrack.) In these instances, the PRO uses what is called a “cue sheet” (a form or electronic file that details when and how loudly a song is played during a program) to track when members’ music is used in a production. The film or TV producer must fill out the cue sheet and submit it to each PRO who has a member represented. The fees are then paid by the broadcaster. Of course, it is much easier to track the music being played on the radio and in film/TV than it is to monitor music being played in “unmonitored” arenas, like bars and boutiques. In reality, a lot of performances can slip through the cracks. However, it is technically still the PRO’s job to collect performing royalties whenever a song is played. If you are ever in a public place and hear your song being played, you should tell your PRO so that they can collect the royalties for you.

How
The application process for BMI and ASCAP is fairly straightforward. You can visit their respective websites (either http://www.bmi.com/ or http://www.ascap.com) and apply for membership online. All of the paperwork is there, and you can even pay your one-time entry fee (this varies; contact the PRO directly for more info) online.

The PRO’s are most likely to accept you if there is a reasonable chance that your music will be played in the media or in a public setting (as either constitutes a “performance”) in the near future. If your songs are available to download online (like, for example, on the HillTop Records homepage) or if you have your own personal website and are promoting yourself, there is a pretty good chance that you will be accepted. If you are not accepted, don’t worry—that does not mean that your music is not good! It just means that the PRO in question does not believe that you as yet need their services.

Please note that in the case of a band or musical group, only the songwriter need apply for PRO membership. PRO’s represent songwriters and publishers. As a songwriter, you are only allowed to belong to one of the three organizations (BMI, ASCAP or SESAC.) However, as a publisher, you can belong to all three—and many publishers do, for an important reason: A publisher can only publish songs written by a member of the same organization to which he/she belongs. Therefore, if you wish to publish another writer’s works, you must join the same PRO. If you are planning to self publish, you must join as a writer and publisher—and provide a name for your publishing company. In this case, you would receive payment for both being the writer and the publisher (so yes, you would get paid twice.).

If you happen to be the co-writer of a song, you can join one PRO and your writing partner can join the other with the same song, as long as your song percentages (say, 50/50) are cross-registered to match. This would actually be a great way to compare the pros and cons of each PRO, as it is otherwise difficult to say whether one is better than the other.

Why
The reason for joining a PRO is simple: to make sure that you are paid the appropriate performance royalties. Songwriters often ask why they should choose ASCAP over BMI, or vice versa. And, like we said before, it’s really a matter of personal preference. Both organizations claim to be the best in the business, and it is difficult to fairly compare the two. The “better” one would, in theory, be the one that pays more—but which one is that? The amount of money you make can vary drastically per song. There are so many factors in play, from where a song is on the charts to how the competition is doing. No two songs are ever doing the exact same thing on the charts while at the same time getting the most cover recordings and other performing rights, so it is nearly impossible to track how the royalty rates vary by PRO. The best way to do this would be the example we mentioned above—splitting the rights to a song 50/50, and comparing the checks sent by both PRO’s. In the meantime we recommend checking out both organizations’ websites or calling to speak with a representative directly. Get a feel for each PRO, and then decide which is the better fit for you.

Great American Songwriters: Diane Warren

2011-08-16T23:25:00.000-07:00

Unlike the other songwriters we've mentioned thus far in our "Great American Songwriters" series, Diane Warren is not a performer. You will not likely see her gracing a concert stage or the cover of Rolling Stone Magazine anytime soon. However, while you may not recognize her face, you have undoubtedly heard (and probably even sung along to) many of her chart-topping tunes. Ms. Warren is one of the most prolific and successful American songwriters of all time, and we would be remiss if we did not include her in our HillTop Records series on "Great American Songwriters."

Warren herself was inspired by the Top 40 music she heard growing up, music by the likes of Buddy Holly and the Beatles. However, she was always more interested in the songwriters than the singers. Carole King, Leiber and Stoller, and Burt Bacharach were among her idols. As a native of the Los Angeles area, Diane Warren was exposed to aspects of the entertainment industry at an early age. She began writing music at 11 and by age 14, she was churning out three songs a day; she knew right away that it was what she was meant to do with her life. Her parents, however, were not so sure. In fact, her mother supposedly suggested that Warren give up her dream of becoming a professional songwriter to take a more practical job. Her father continued to support and believe in her unconditionally, and their relationship was later immortalized by Warren in one of her greatest hits--"Because You Loved Me," sung by Celine Dion.

Despite the divided viewpoint her parents had on her career, Warren persevered and eventually landed a job as a staff writer for Jack White (a music producer who worked with singer Laura Branigan) when she was in her late twenties. One day, White asked Warren to prepare English lyrics for a French song. The next day, the budding songwriter turned in "Solitare," which became a Top 10 hit for Branigan and Warren's first major musical success. This led to more projects and three years latter, Warren wrote "Rhythm of the Night" for DeBarge. That song climbed to the Number 3 spot on the pop charts, and even reached Number 1 on the Adult Contemporary chart. But Diane Warren's now legendary songwriting career had only just begun.

Several things have distinguished Warren from her songwriting peers. One is her ability to transcend genre; her songs are often recorded by multiple artists, and in drastically different styles. "If You Asked Me To" was recorded by both Celine Dion and Patti LaBelle, and "Don't Turn Around" has been recorded by eight different artists--from Tina Turner to Ace of Base. Another pop hit, "I Don't Wanna Miss A Thing," was performed by Aerosmith for the film Armageddon. At the same time that it received an Oscar nomination, the song hit Number 1 on the country charts with a version by Mark Chestnutt. Diane Warren is certainly no stranger to the American country charts. Her song, "How Do I Live," was recorded by both Trisha Yearwood and LeAnn Rimes. Yearwood's version landed her a Grammy for Best Country Vocal Performance, and the song itself was the longest running song in the history of Billboard's Hot 100 chart.

Diane Warren's list of awards and accolades is truly spectacular. In total, her songs have received six Academy Award nominations, five Golden Globe nominations and eight Grammy Award nominations. She was inducted into the Songwriters Hall of Fame in 2001; that same year, she also received a coveted star on the Hollywood Walk of Fame. Warren has been named the ASCAP Songwriter of the Year an astounding six times, and is the only songwriter to have earned the distinction in both Pop and Country categories. She was declared Billboard's Songwriter of the Year four times. She was also the first songwriter in the history of Billboard to have seven hits (all by different artists) on the singles chart at the same time! Her music been featured in more than 70 films and TV shows, and she has collaborated with many of the world's greatest artists. Elton John, Barbra Streisand, Aretha Franklin, Whitney Houston, Roy Orbison--these are only a few of the world-famous performers for whom Diane Warren has written songs. And today's celebrities (including Joss Stone, Jennifer Hudson and Christina Aguilera) are still clamoring to work with her.

Diane Warren said in a 1998 interview with the Toronto Star that "It seems that a lot of people these days are hyphens: the writer-producer, the writer-artist. It seems in this day and age you have a lot more of that. Unfortunately, you don't have the pure songwriter, although the pure songwriter still is important." While Warren is definitely a "pure songwriter," she is also a hugely successful music publisher. Her company, Realsongs, has been named one of the Top 5 Music Publishing Corporations, and it is the most successful female-owned and operated business in the music industry. The company ensures that Warren always has complete creative control over her music, and she uses it as a vehicle to showcase her latest works. Among her most recent projects are "It's My Time," the song she co-wrote with Andrew Lloyd Webber for the international Eurovision song contest in 2009, and Due Voci, the romantic singing duo she developed and introduced at the Java Jazz Festival in Jakarta, Indonesia. Warner Brothers recently released a compilation of Diane Warren's greatest hits, called "Love Songs." A commonly mentioned anecdote is that despite the fact that most of Warren's songs are about romantic love, she herself has never been married. However, not much is known about the songwriter's personal life--and she'd like to keep it that way.

Despite Warren's staggering success, the songwriter has managed to keep an extremely low profile. In fact, she is ironically famous for shunning the public eye and choosing to live a very private life. "I'm not really comfortable in front of people," she has has been quoted as saying, "I don't like being in front of people on stage, which is why I write songs and stay in the background... I've kept my nose to the grindstone. I'm very driven. I don't have much of a social life, but it doesn't bother me. I'm happy doing what I'm doing... I would never rest on my laurels. I'd rather look ahead than look back at all times. I'm proud of what I've achieved, but it's always the next thing that's the most interesting to me."

Warren is certainly not the only one proud of her work. Music mogul Clive Davis said of the songwriter: "Diane is able to combine tremendous feel for melody with lyrics that deal with genuine emotions, and she is able to do it time after time." Record producer David Foster called her "the hardest-working songwriter [he's] ever known." He went on to say: "She's truly an island, and somehow she taps into the masses. The fact that she can do it by herself is extra special. She doesn't seem to need to rely on anybody else."

Whether that last bit is true or not, there is no questioning Diane Warren's tremendous talent and work ethic. We know her songs have inspired countless other musicians, including many of our own HillTop Records songwriters. She is frequently asked to describe her songwriting process, and her response is usually the same. In 2008, she told Sound On Sound: "I don't know what the process is, but the process is that I show up. This is what I always say: I show up. If you don't show up, nothing is going to happen. You have to get there. And I am excited to get [to the studio] every day and can't wait to get to work. As long as I feel like that, things are cool."

Did You Know?

2011-08-11T10:00:00.000-07:00

Even those who know virtually nothing about music are familiar with the name, Ludwig van Beethoven. By extension, most people have heard of the Symphony No. 9 in D minor, Op. 125. It is Beethoven's final complete symphony, composed in 1824, and is one of the most celebrated works of the entire Western classical repertoire. Critics consider the 9th Symphony to be one of Beethoven's greatest masterpieces, and also one of the greatest musical compositions ever written. One reason why the symphony has become so legendary is because it was the first example of a major composer using voices in a symphony. The choral symphony's words are sung during the final movement by four soloists and a chorus. The words were taken from the poem "An die Freude" ("Ode to Joy") by Friedrich Schiller in 1785 (revised in 1803) and adapted by Beethoven.

A symphony as complicated and grand as Beethoven's Great 9th was obviously a feat to compose. But, did you know that throughout the process, Beethoven was completely deaf? He was commissioned in 1817 by the Philharmonic Society of London to compose the symphony, and it took him from 1818 to 1824 to do so. However, both the words and notes of the final product have sources dating from earlier in Beethoven's career. Most likely, he had already been thinking about the project for some time--perhaps before he even knew what it was to become. Old bits of musical material from Beethoven's notebooks and even previously completed works came together to create the 9th. As the story goes, the introduction of the vocal component proved most difficult for Beethoven. However, considering his handicap, the entire composition process must have been daunting.

For obvious reasons, Beethoven took pains to keep his deafness a secret. He confided in close family and friends, but very few outside of his inner circle knew of the handicap. So, how did he continue to get work and compose music without people realizing how deaf he had truly become? Well, here is a quote taken from a letter he wrote to Franz Gerhard Wegeler, a trusted friend and doctor (probably around June/July of 1801):

"... It is curious that in conversation there are people who do not notice my condition at all; since I have generally been absent-minded, they account for it in that way. Often I can scarcely hear someone speaking softly, the tones yes, but not the words. However, as soon as anyone shouts it becomes intolerable..."

Interesting, but it only explains how he managed to hide the problem in public. How did he manage to still compose music--and not just music, but music as groundbreaking and beautiful as Symphony No. 9? Well, as we said before, parts of the symphony had already been composed as other works. It can be assumed that many of these bits and pieces were composed while Beethoven still had some of his hearing left (he was not completely deaf until 1816.) The poem had also been written already, and Beethoven was very familiar with the words. In fact, he was supposedly quite passionate about the message they held. He could hear the sounds and notes clearly in his head; they just needed to be arranged properly. According to legend, Beethoven had the legs of his piano sawed off and placed the instrument on the floor. This way, he could feel the vibrations of the notes as he played.

Once the Ninth Symphony was completed, it of course had to be performed. The masterpiece premiered on May 7, 1824 in the Kärntnertortheater in Vienna. Beethoven wanted so badly to direct the symphony himself; however, after watching the deaf composer's failed attempts to direct in dress rehearsals, conductor Michael Umlauf stepped in to officially direct the performance. Beethoven stood alongside him, turning the pages of his score and beating time for an orchestra he could not hear. At the end, the audience broke out into riotous applause--and they honored Ludwig van Beethoven with five standing ovations. They also waved hats and handkerchiefs in the air and raised their hands so that Beethoven, who could not hear the applause, would at least see the gestures. As the story goes, he left the concert hall greatly moved.

We hope this story has helped to inspire our HillTop Records songwriters. It really goes to show that if you set your heart and mind to accomplishing something, you really can overcome incredible obstacles.

Celebrate August 2011 With The Month's Best Music Festivals!

2011-08-03T11:01:00.000-07:00

Summer is in full swing, and cities and towns across the country are taking advantage of the warm weather and festive mood! No matter where in the United States you are, you are sure to find something fun and exciting in your part of town. Here at HillTop Records, we've always got our eyes and ears out for the best upcoming music festivals. Here are our picks for the month of August:

The first full weekend of the month is being commemorated in East Hartford, Connecticut with the Podunk Bluegrass Music Festival (8/4/2011 - 8/7/2011.) The annual event bills itself as "The Music of The Mountains In The Heart of a City," and it is known for bringing together the best local, regional and national bluegrass acts.

Also this coming weekend, the Flint Jazz Festival (8/5/2011 - 8/7/2011) is coming to Flint, Michigan. The event promises to be fun for the whole family. Along with regional and internationally known jazz musicians, the festival will have food and craft vendors in the heart of downtown Flint.

Looking to branch out and explore other musical genres? The Flood City Music Festival (8/5/2011 - 8/7/2011) in Johnstown, Pennsylvania will be a great place to do just that! It has everything from Honky Tonk to Motown, along with food and drink vendors; purchase a full weekend pass to experience the entire festival.

Other popular music festivals sure to draw crowds this weekend include the Lumberjam Festival (8/5/2011 - 8/7/2011) in Hayward, Wisconsin; the Northern California Blues Festival (8/5/2011 - 8/6/2011) in Auburn, California; the Otsego Jamfest (8/5/2011 - 8/6/2011) in Otsego, Minnesota; Bikes and Bands 2011 (8/6/2011) in Lansing, Michigan; and the Riverfront Blues Festival (8/5/2011 - 8/7/2011) in Wilmington, Delaware.

The Mammoth Lakes Bluesapalooza and Festival of Beers (8/5/2011 - 8/7/2011) is bringing Blues Traveller, Walter Trout and Robert Cray to picturesque Mammoth Lakes, California. A "Blues-style" BBQ, vendors from over 70 of the country's finest microbreweries, and even a Sunday Morning Hangover Party are sure to add to the fun. Meanwhile, California’s Eastern High Sierra provides the perfect backdrop.

On the East Coast, Musikfest (8/5/2011 - 8/13/2011) is set to take over historic Bethlehem, Pennsylvania. The 10-day festival features a wide range of musical genres, from Bach to rock and roll. Many of the 1,000 performances (by more than 300 performers from around the country and the world) are free to attend. Indoor and outdoor stages, food vendors, special activities for children, and even a spectacular closing-night fireworks display round out the event's highlights.

Of course, no list of August music festivals would be complete without this year's Lollapalooza! One of the most popular music festivals in America, the annual event is anticipated year-round. The line-up for 2011 is truly impressive: Eminem, the Foo Fighters, Cee Loo, My Morning Jacket, Kid Cudi... The list goes on and on. And it's all headed to Grant Park in Chicago, Illinois this weekend (8/5/2011 - 8/7/2011.)

Still haven't found what you're looking for? Don't worry! There are many other exciting music festivals in the first weekend of August and throughout the rest of the month:

- the McCauley Mountain Music Festival (8/6/2011 - 8/7/2011) in Old Forge, New York (featuring the world-renowned 10,000 Maniacs!)

- the Michigan Roots Jamboree (8/6/2011 - 8/8/2011) in Ypsilanti, Michigan

- the 2nd New L.A. Folk Festival (8/6/2011 - 8/7/2011) in Altadena, California

- the Minnesota Bluegrass & Old-Time Music Festival (8/11/2011 - 8/14/2011) in St. Cloud, Minnesota

- the Heritage Music BluesFest (8/12/2011 - 8/14/2011) in Wheeling, West Virginia

- the Long Beach Jazz Festival (8/12/2011 - 8/14/2011) in Long Beach, California

- the Ojai Classic Rock & Reggae Festival (8/12/2011 - 8/14/2011) in Ojai, California

- Rhythm on the River (8/12/2011 - 9/2/2011) in Columbus, Ohio

- the Saddleback Mountain Bluegrass Festival (8/12/2011 - 8/13/2011) Rangeley, Maine

- the Sandestin Music Festival (8/12/2011 - 8/13/2011) in Destin, Florida

- the Waukesha BluesFest (8/12/2011 - 8/13/2011) in Delafield, Wisconsin

- the Taos Mountain Music Festival (8/13/2011) in Taos Ski Valley, New Mexico

- the Centralia Old-Time Music Campout (8/16/2011 - 8/21/2011) in Centralia, Washington

- the North Carolina State Bluegrass Festival (8/18/2011 - 8/20/2011) in Marion, North Carolina

- the Council Mountain Music Festival (8/19/2011 - 8/20/2011) in Council, Idaho

- the Taste of Music festival (8/19/2011 - 8/21/2011) in Snohomish, Washington

- the Salem Jazz and Soul Festival (8/20/2011 - 8/21/2011) in Salem, Massachusetts

- the Bluegrass 101 Bluegrass Festival (8/26/2011 - 8/27/2011) in Shepherdsville, Kentucky

- the 11th Annual AT&T Norfolk Latino Music Festival (8/27/2011) in Norfolk, Virginia

- Idyllwild Jazz in the Pines (8/27/2011 - 8/28/2011) in Idyllwild, California

- the LouFest Music Festival (8/27/2011 - 8/28/2011) in St. Louis, Missouri

- the Pennsylvania Cigar Box Guitar Festival (8/27/2011) in York, Pennsylvania

- the Rhythm & Soul Music Festival (8/27/2011 - 8/28/2011) in New York, New York

- the All Star Gospel Weekend (8/31/2011 - 9/3/2011) in Oakland, California

... See? We told you there were a lot to choose from! For more information and to find other August music festivals near you, check out Festivals.com. Also be sure to check out the best music festival of them all (okay, we might be a bit biased): HillTop Records Online Music Festivals for Songwriters, which is still running 'til the end of August! We've got $5,000 in prizes to award on Labor Day--and there is still time to join in the fun!

Great American Songwriters: Stevie Wonder

2011-07-27T11:23:00.000-07:00

We all know him as Stevie Wonder--the multi-talented writer of such timeless hits as "Superstition" and "Signed, Sealed, Delivered I'm Yours"--but he was actually born as Stevland Hardaway Judkins in 1950. When he was four and his mother left his father, his legal last name was changed to Morris. It wasn't until many years later that he became known (not just by close friends and relatives, but by the entire world) as Stevie Wonder, one of the greatest American songwriters and artists of all time. Of course, his vast talent is what made him a household name; however, another (much less fortunate) attribute has contributed to his fame: the fact that he is blind.

Born prematurely with a medical condition called "retinopathy of prematurity," or ROP, Stevie Wonder has never let this handicap hold him back. He began studying music at an early age, singing in his local church choir and learning to play the piano, harmonica, drums and bass. He was eventually "discovered" the old-fashioned way by Ronnie White of The Miracles, whose brother Gerald White convinced him to go to a friend's house to see young Stevie in 1961. White introduced Wonder and his mother to Berry Gordy, the CEO of Motown Records. Impressed by the boy's talents, Gordy immediately signed the musician to Motown's Tamla label--and christened him with the stage name "Little Stevie Wonder" (because "[they couldn't] keep calling him the eighth wonder of the world.") Under Tamla, Little Stevie Wonder released a regional single ("I Call It Pretty Music, But the Old People Call It the Blues") and two albums: The Jazz Soul of Little Stevie, and Tribute to Uncle Ray. Neither was very successful--but Little Stevie Wonder was still only 12 years old.

By the time he was a teenager, Stevie Wonder had a hit: "Fingertips (Pt. 2.)" The single was taken from a 1963 live recording of a Motor Town Revue performance, issued on the album Recorded Live: The 12 Year Old Genius. The song featured Little Stevie Wonder on vocals, bongos and harmonica--and a young Marvin Gaye on drums. It reached the #1 spot on the U.S. pop and R&B charts, and catapaulted Wonder onto the national stage. He made his film debut in 1964, when he played himself in Muscle Beach Party. He dropped the "Little" from his name, and went on to record a series of hits throughout the mid-1960's. These included "Uptight (Everything's Alright)" and a cover of Bob Dylan's "Blowin' in the Wind." At the same time, Stevie Wonder began working in the Motown songwriting department, composing songs for himself and for others under the label. One of his first songwriting successes was "Tears of a Clown," performed by Smokey Robinson & the Miracles.

Throughout these early years of his career, Stevie Wonder experienced highs (particularly with hits like "For Once in My Life" and "Signed, Sealed, Delivered I'm Yours") and lows (ie. the less-than-popular album of instrumental soul/jazz tracks he released under the pseudonym and title Eivets Rednow in 1968.) As he approached his twenty-first birthday, he allowed his contract with Motown to expire. It was time for Stevie Wonder to enter a new era--one in which he was the boss.

He independently recorded two albums in the early '70's, and he used them as leverage in his next negotiations with the label. Eventually, Motown agreed to give Stevie Wonder full creative control and the rights to his own songs. Armed with this new freedom, Wonder released Music of My Mind (1972.) The album marked a turning point for the songwriter, whose previous projects consisted of a collection of singles, B-sides and covers. This was something new. This was a full-length artistic statement, comprised of songs that flowed together thematically. Musically, Wonder was experimenting with overdubbing--and he was also recording most of the instrumental parts himself. Music of My Mind re-introduced the world to what Wonder could do, and it paved the way for Talking Book (also released in 1972.) This second album included "Superstition" and "You Are the Sunshine of My Life;" between them, the two singles collected three Grammy Awards. Wonder's next album, Innervisions, went on to win Album of the Year--as did the subsequent Fulfillingness' First Finale, for the following year. Stevie Wonder capped this winning streak with the double album-with-extra-EP Songs in the Key of Life, which he released in 1976. Regarded by many as Wonder's most ambitious and important album, it was the first by an American artist to debut straight at #1 in the Billboard charts. It included "I Wish," "Sir Duke" and "Isn't She Lovely?" It also won Album of the Year and two other Grammys.

As if to catch his creative breath, Stevie Wonder followed that impressive run with a three-year hiatus from songwriting. Not one to rest on his laurels, he still had a lot of hit songs left in him. However, fans and critics typically call this period (from 1972 to 1976) Wonder's Classic Period, and the 1983 Rolling Stone Record Guide said that the albums he released during this time "pioneered stylistic approaches that helped to determine the shape of pop music for the next decade". Four of the five albums from this period are included in Rolling Stone magazine's 2003 list of the 500 Greatest Albums of All Time. Even more recently, in 2005, fellow musical pioneer Kanye West said of his own work: "I'm not trying to compete with what's out there now. I'm really trying to compete with Innervisions and Songs in the Key of Life. It sounds musically blasphemous to say something like that, but why not set that as your bar?"

What followed the Classic Period was Stevie Wonder's Commercial Period, wherein he began to experience great commercial success. This was propelled by a number of TV appearances, high-profile collaborations, and increased record sales. As for chart-topping songs, there were plenty--and they ran the gamut from poppy dance hits like "Let's Get Serious" to sentimental ballads like "Lately." Stevie Wonder also began to use his music to make political statements: "Happy Birthday" (from 1980's Hotter than July, which was his first platinum-selling single album) was a successful vehicle for his campaign to establish Dr. Martin Luther King's birthday as a national holiday, and "Front Line" told the story of a soldier in the Vietnam War. The latter was a track on the 1982 album Stevie Wonder's Original Musiquarium, which also included "That Girl" and "Do I Do" (featuring Dizzy Gillespie.) That same year, Wonder also teamed up with Paul McCartney to promote racial harmony with the #1 hit, "Ebony and Ivory."

To list all of the successful albums and songs under Stevie Wonder's belt would take hours. His #1 pop and R&B hit "I Just Called to Say I Love You," written for The Woman in Red, won the Academy Award for Best Song in 1985. He is featured on harmonica in Elton John's "I Guess That's Why They Call It The Blues," and he also collaborated on famous songs for charity like "We Are the World" and "That's What Friends Are For." He has worked with everyone from John Denver to Michael Jackson, Barbra Streisand to KISS, Julio Iglesias to Sting. Even up until this decade, he continued to release new material. His first record in ten years, A Time to Love, was released in October of 2005. These days, Stevie Wonder remains a fixture in American music. He routinely tours around the world, and is most often seen performing at political gatherings (including the 2008 Democratic National Convention and President Obama's Inauguration) and charity events (like the opening ceremony for the 2011 Special Olympics World Summer Games in Athens, Greece this past June.) He can even turn up in very unexpected places, like on recent albums by rap heavyweights Snoop Dogg and Busta Rhymes.

The impact Stevie Wonder has made on American music is monumental. His use of harmony, extended chords and abrupt, unpredictable changes make his songs notoriously difficult to sing. He also played a large role in bringing synthesizers to the forefront of popular music. Wonder was the first owner of an E-mu Emulator in 1981, and he is credited for developing many new textures and sounds never heard of before. His songs have been sampled and covered by countless other artists, and we know he has influenced many of our own HillTop Records songwriters.

Did You Know?

2011-07-20T10:47:00.000-07:00

We are pleased to introduce a new series to our HillTop Records blog: Did You Know? The series will highlight interesting, little-known facts about popular songwriters and the music industry as a whole. Inspired by current events and recent news headlines, these facts will hopefully shed some light on the exciting but complicated world of music that we live in. In particular, we hope to show you how other songwriters and artists have successfully navigated the industry--so that we may, of course, inspire you to do the same!

Legendary musician, composer, producer, arranger and all-around media mogul Quincy Jones has recently been in the news because CNBC is profiling the prolific entrepreneur in its "CNBC Titans" television series this week. Jones is famous around the world for many things: His five-decade-long career has reaped 27 Grammys (including the 1991 Grammy Legend Award) and 79 nominations, he was the first African American musical director/conductor of the Academy Awards, and he was the first African American to win the Academy's Jean Hersholt Humanitarian Award (1995.) However, he is perhaps most well-known for his work with another American music icon--Michael Jackson. Quincy Jones produced Thriller and "We Are The World." He also arranged and produced for Frank Sinatra, Sammy Davis, Jr., Dean Martin, and Johnny Carson.

Years and years before he reached these great levels of success, however, Quincy Jones was just another struggling musician. And did you know who taught Mr. Jones how to arrange and score music? (Especially those full orchestrations that include strings.) Her name was Nadia Boulanger, a French music teacher who spent her entire life and career in Paris. Without her, we would not have modern classical music as we know it.

Called "the most influential teacher since Socrates" by composer Ned Rorem, Nadia Boulanger is credited with shaping the sounds of over 600 American musicians as well as many others throughout Europe, Australia and Canada. These aspiring composers flocked to Paris to study. Sadly, Boulanger did not keep records of her students. Nonetheless, it is public knowledge that she taught many of the greats: Aaron Copland, Virgil Thomson, Igor Markevitch, Michel Legrand, Philip Glass and, of course, Quincy Jones all learned musical composition under Nadia Boulanger. And long past her death in 1979, Boulanger's wisdom still lives on. Never a fan of innovation for innovation's sake, she was quoted as saying (in French, of course) that "When you are writing music of your own, never strain to avoid the obvious." And: "You need an established language and then, within that established language, the liberty to be yourself. It's always necessary to be yourself – that is a mark of genius in itself."

It is no coincidence that Quincy Jones sought out Nadia Boulanger--or that he, years later, climbed to the very top of his field. Young Jones knew from the start that mere talent was not enough. Real success also takes determination, education, and perserverence. If you want to be the best, why not train with the best? Although Nadia Boulanger is no longer around to teach up-and-coming composers, there are still many great instructors and mentors in the world. Do yourself a favor and find someone to guide you along the right path. While we at HillTop Records do our best to keep our songwriters informed and motivated, nothing can take the place of one-on-one tutoring. Just remember--even Quincy Jones once had to ask for help.

Great American Songwriters: Jimi Hendrix

2011-07-13T11:05:00.000-07:00

Undoubtedly one of the most influential musicians of his generation, Jimi Hendrix is widely considered to be the greatest electric guitarist of all time. The world-famous singer-songwriter broke ground in multiple genres, and he even saw great success as a record producer. However, Hendrix is most often remembered for his massive contributions to rock music--and, in particular, his ingenious use of the electric guitar. By favoring raw, overdriven amplifiers with high gain and treble, he was able to introduce entirely new sounds. Along with Eric Clapton, Hendrix is credited with the popularization of the wah-wah pedal in mainstream rock. His guitar solos are still easily identified for their exaggerated pitch, high bends, complex playing, and use of legato. Even four decades after his death, Jimi Hendrix remains an legendary fixture in American music.

Years before he became a musical icon, Jimi Hendrix was born Johnny Allen Hendrix on November 27, 1942 in Seattle, Washington. As the oldest of five children in an impoverished family during World War II, Hendrix experienced a lot of turmoil at a very young age. The war and its aftermath seriously effected the entire family, especially since his father was an American soldier. Several of Hendrix's siblings were born with great physical difficulties that led them to being placed in foster care. Then, a few years after his parents divorced, his mother died of cirrhosis of the liver.

Due to the unstable nature of the household, young Jimi spent a good portion of his childhood living with his grandmother in Vancouver. The boy was shy and sensitive, obviously affected by the family problems he endured. At an early age, he showed an affinity for music. He had a habit of strumming a broomstick in imitation of a guitar, and he taught himself to play an old ukulele that his father had found while cleaning the garage. At the age of 15, around the time of his mother's death, Hendrix bought his very first guitar from a family friend for $5. Supportive from the beginning of his son's musical abilities, Hendrix's father bought him a white Supro Ozark in 1959. This was his first electric guitar--but he did not have an amplifier for it. Despite this, Hendrix taught himself to play. A large part of his transformation from amateur to professional musician involved developing his onstage persona. He followed in the blues/R&B tradition of acrobatic stage moves like playing behind his back or even with his teeth, accruing tips and tricks from fellow performers.

Hendrix's first real gig was with an unnamed band in the basement of a Seattle synagogue. Too much wild playing and showing off led to his being fired between sets. He spent some time playing formally with a band called The Velvetones, and then with the professional Rocking Kings. Throughout his early days as a musician, Jimi Hendrix was influenced by the greats: Elvis Presley, Little Richard, Muddy Waters and B.B. King were among his idols. His talent and love for music were what propelled him through life. In other areas--especially those dealing with authority--Jimi Hendrix was not so successful. He was kicked out of high school and discharged from the military after only a year (of a two-year sentence by law enforcement after he got into trouble for riding in stolen cars) for being a subpar soldier. While his brief stint as a soldier was not voluntary or what he wanted, it did lead to Hendrix forming one of his most important and lasting friendships--with fellow musician, Billy Cox.

After being discharged from the military, Hendrix moved with Cox to Clarksville, Tennessee. They formed a band and eventually moved to Nashville, where their King Kasuals became the house band at the Club del Morocco. The American South is where Jimi Hendrix first found his musical identity; however, he eventually outgrew the artistic climate there and made the move to New York City. In February 1964, he took first prize in the Apollo Theater amateur contest. He then became the guitarist for the Isley Brothers' back-up band, with whom he enjoyed his first studio recording (of the two-part single "Testify.") The song was released in 1964, but did not make an impact on the charts. Regardless, Hendrix did spend a few years touring with the Isley Brothers. After growing dissatisfied, he left the band to form new relationships--one of which was with none other than Little Richard himself. Hendrix was later quoted as saying of his idol: "I want to do with my guitar what Little Richard does with his voice."

While touring with Little Richard in the '60's, Hendrix hit a number of major milestones. He made his first recorded TV appearance on Nashville's Channel 5 Night Train, and played alongside Ike and Tina Turner in Los Angeles. After subsequent years of bouncing around among different bands, Jimi Hendrix finally formed his own: The Blue Flame. They played at a handful of notable New York clubs; however, they were most regularly seen at the now-legendary Cafe Wha? in Greenwich Village. The Blue Flame enjoyed some early success, but Hendrix's big break did not come until 1966. This is when he met Linda Keith, girlfriend of Rolling Stones guitarist Keith Richards, who introduced him to the Stones' manager and producer--both of whom passed on Hendrix. Luckily, the next person she introduced him to--Chas Chandler, who was at the time transitioning from his role as the Animals' bassist to music manager--did not pass. Chandler liked Hendrix's version of "Hey Joe" so much that he took him on as a client--and also took him to London. It was in London that Hendrix first became legitimately famous, as the frontman for his new band, the Jimi Hendrix Experience. This fame followed him back across the pond, thanks to his 1967 performance at the Monterey Pop Festival. From that point on, he was a bonafide celebrity.

"Hey Joe" was Jimi Hendrix's first single, and "Stone Free" was his first songwriting effort. However, his first major international hit was "Purple Haze," a song that managed to showcase his songwriting ability and his silly sense of humor. Hendrix made fun of the fact that the line "'Scuse me while I kiss the sky" was often misheard as "'Scuse me while I kiss this guy" by sometimes pointing at a bandmate during performances. Are You Experienced, the Jimi Hendrix Experience's first album, saw great success in multiple countries. In fact, it would have reached the Number 1 spot on the UK charts if it weren't for Sgt Pepper's Lonely Hearts Club Band by The Beatles.

The Jimi Hendrix Experience played a concert series in New York City, and during that time Hendrix met Frank Zappa--and became fascinated with his recently purchased wah-wah pedal. The band's sophomore album, 1967's Axis: Bold as Love, featured this wah-wah pedal and also used panning and other stereo effects. The album also marked the first time Hendrix recorded with his guitar tuned down one half-step, something that would become a signature move of his. Electric Ladyland, a double album released in 1968, was somewhat of a departure for Hendrix. He began experimenting with different combinations of instruments and musicians, including everyone from drummer Buddy Miles to Steve Winwood from Traffic. The recording of Electric Ladyland, which includes "Voodoo Chile (Slight Return)" and a cover of Bob Dylan's "All Along the Watchtower," took a very long time due to Hendrix's perfectionist nature. "Gypsy Eyes" alone was supposedly recorded 43 times. Musicians became frustrated and eventually the band broke up.

Of course, the break-up did not mean the end of Hendrix's success. On the contrary, he began preparing for his big moment in the spotlight: as headliner of the historic 1969 Woodstock Festival. He also recorded early renderings of the funk-driven songs that would become indicative of his post-Experience sound: "Machine Gun," "Message to Love" and "Izabella." In 1970, Hendrix co-founded Electric Lady Studios in New York and used it to record his next album. Unfortunately, in the midst of a hectic recording and touring schedule, Jimi Hendrix unexpectedly died at the age of 27 of a drug overdose.

Hendrix left behind over 300 unreleased recordings, some of which have been released posthumously by Experience Hendrix LLC. Material from The Cry of Love was rereleased along with new tracks in 1997 as First Rays of the New Rising Sun. In 2010, Legacy Recordings and Experience Hendrix launched their Jimi Hendrix Catalog Project, starting with the release of Valleys of Neptune. The impact that Jimi Hendrix had on American rock, funk and blues music and on the electric guitar in particular is incredible. Countless musicians across multiple genres, from the Red Hot Chili Peppers to Public Enemy, cite him as a major influence. He was ranked number 3 on VH1's list of the 100 Greatest Artists of Rock N' Roll, behind the Rolling Stones and the Beatles, called the best electric guitarist of all time by Rolling Stone and Guitar World, and posthumously awarded the Grammy Lifetime Achievement Award in 1992. We know that Jimi Hendrix's music has also been a major source of inspiration for many of our HillTop Records songwriters, and we are proud to include him in our series on Great American Songwriters.

HillTop Records Songwriter Jean C. Wood Featured in Local Paper

2011-07-06T11:07:00.000-07:00

Here at HillTop Records, we always love hearing from our songwriters under contract. We recently received a letter from Jean C. Wood, who has been writing lyrics for HillTop since 2002. An avid writer and member of the International Society of Poets, Wood was recently featured by her local newspaper, the Mustang Times of Mustang, Oklahoma. The Mustang ran a special interest piece about Wood, briefly chronicling her life and writing career. We at HillTop Records are very proud and honored to have played a role in the latter.

In 2002, Wood answered an ad we had posted looking for new material. We selected three of the eight poems she submitted to use for lyrics in a Gospel album. We have since also submitted the songs to K-LOVE and other Christian radio stations, and they have received some airplay. Several of our albums have included Wood's work, and we are so pleased to hear that she is as happy as we are with our business relationship. About us, she says in the article: "I just like to share what I do and they were available to do that... It blesses me. God has given me something I can share."

Wood's religious beliefs are obviously a major source of inspiration for her. "I think some of the message is whatever the doctors can't do, God can do," she says in the Mustang article. She is partially referring to her own personal experiences with Atrial Fibrillation, a heart condition that she was diagnosed with some years ago. Her relationship with God has helped her deal with the physical and emotional stress of her condition; in return, she writes poems and lyrics of praise and thanks. Here is a poem that Jean C. Wood wrote in 2004; it was published in the newspaper alongside the article:

That Healing Spirit

That healing spirit takes complete control.
Sin and darkness looses its gripping hold.
On the lives of those with a sin sick soul.
It makes those persons courageous and bold.

To step out and do what could not be done.
For in each of them there is the Power of the Son.
He guides and protects and makes whole.
They have might within their souls.

As they live lives they have been given.
Angels come down from heaven to aid them here.
So they can do their tasks with light hearts and cheer.
And travel this world with no fear.

When that healing spirit is needed at any time.
It breaks the chains that totally bind.
To free those souls that can be kind.
They worship, praise, sing to the Lord.

To hear more of Wood's heartfelt words and even download some of her songs, visit her Unique Songwriter Page at www.hilltoprecords.com.

The Best Music Festivals of July 2011

2011-06-29T13:47:00.000-07:00

The First Official Day of Summer has come and gone, and now is the time to take advantage of all that the season brings: the longer days, warmer weather, and overall sense of carefree festivity that seems to permeate the air. Even if you do not have an actual summer vacation in your plans, it is easy to feel like you're on holiday for a while at this time of year; simply head to one of these exciting summer music festivals for a healthy dose of fun in the sun:

July is celebrated in Bellingham, Washington each year with the Bellingham Festival of Music. This installment of the annual event is set to take place 7/1/2011 - 7/17/2011. The non-profit organization's premier purpose is to bring classical music to a wide audience--namely, the residence of Northwest Washington. The Bellingham Festival Orchestra and esteemed guest soloist are set to hit the stage starting this holiday weekend.

Of course, the city of New Orleans, Louisiana knows good music--and this weekend, it's proud to welcome the return of the Essence Music Festival (7/1/2011 - 7/3/2011)! The largest three-day gathering of the greatest African American performers, the festival is currently in its sixth year. It will feature the likes of Maya Angelou, Kweisi Mfume and Johnnie Cochran on a large main stage and in four surrounding Superlounges. The adjacent Essence Marketplace will, meanwhile, sell everything from ethnic handicrafts to Cajun and Creole cuisine.

The aptly-named Red, White, and Blues Festival is coming to Zillah, Washington 7/1/2011 - 7/3/2011. The annual event pairs patriotism with two other beloved pastimes--wine and the blues--to throw a party on the grounds of seven local wineries. With white, red and the blues flowing freely, participants are sure to enjoy a great 4th of July weekend.

San Francisco, California is also in for a treat with the Fillmore Jazz Festival (7/2/2011 - 7/3/2011.) Already one of the city's most interesting neighborhoods, Fillmore is gearing up to welcome 90,000 festival-goers to 8 blocks of vendor stalls selling arts and crafts, food and drink stands, and stages with live entertainment.

Meanwhile, America's largest folklife festival is set to bring food, culture and live music to Kutztown, Pennsylvania. A celebration of the area's rich Pennsylvania Dutch history, the Kutztown Folk Festival (7/2/2011 - 7/10/2011) is a must-see and fun for the whole family.

The Oakleaf Bluegrass & Mountain Music Heritage Festival (7/2/2011 - 7/4/2011) in Luray, Virginia is not only celebrating Independence Day, but also the 50th Anniversary of the World's First Bluegrass Festival. Multiple bands and solo acts will light up the stage while festival-goers enjoy local cuisine and organized beer and wine tastings on the Page County Fairgrounds.

Nashville, Tennessee is celebrating the 4th of July the best way it knows how: with live music, of course. Let Freedom Sing: Music City July 4th (7/4/2011) is one of the city's most loved celebrations, and also the largest single event of the year. It has been known to draw as many as 100,000 people--and for good reason. As if seven hours of live music including performances by the Nashville Symphony weren't enough, the festival also features the only fireworks show in the world that is choreographed to live music.

Throughout the month of July, Lewiston, New York is keeping the festival spirit alive with its Jazz Thursday Concert Series (7/7/2011 - 8/18/2011.) And that's not all--there is a lot to look forward to later in the month! More upcoming music festivals in July:

- the Summer Concert Series (7/7/2011 - 8/11/2011) in West Covina, California

- the Thunder Mountain RockFest (7/7/2011 - 7/9/2011) in Sawyer, North Dakota

- the Montana Folk Festival (7/8/2011 - 7/10/2011) in Butte, Montana

- the Rock The Resort Music Festival (7/8/2011 - 7/10/2011) in North Lawrence, Ohio

- the Rockabilly Mountain Meltdown (7/8/2011 - 7/10/2011) in Olean, New York

- the Starfest-Dallas Premier Music Festival (7/8/2011 - 7/10/2011) in Dallas, Texas

- the Chicago Folk & Roots Festival (7/9/2011 - 7/10/2011) in Chicago, Illinois

- the Crested Butte Music Festival: Bluegrass in Paradise (7/9/2011 - 7/10/2011) in Crested Butte, Colorado

- the Mendocino Music Festival (7/9/2011 - 7/23/2011) in Mendocino, California

- the 40th Annual 111th Street Stickball Music Festival (7/10/2011) in New York, New York

- the Mammoth Lakes Jazz Jubilee (7/13/2011 - 7/17/2011) in Mammoth Lakes, California

- the Mineral Bluegrass Festival (7/14/2011 - 7/16/2011) in Mineral, Virginia

- Rock Fest (7/14/2011 - 7/17/2011) in Cadott, Wisconsin

- JazzFest (7/15/2011 - 7/16/2011) in Sioux Falls, South Dakota

- the Mesquite Jazz Festival (7/15/2011 - 7/17/2011) in Mesquite, Nevada

- the Madrid Bluegrass Festival (7/23/2011 - 7/24/2011) in Madrid, New Mexico

- Shelton's Country Music Festival (7/23/2011) in Plains, Montana

- the 52nd Street Association Jazz Festival (7/24/2011) in New York, New York

Finally, close out the month with one of these last music festivals:

- the 33rd Annual Salt River Bluegrass Festival (7/28/2011 - 7/30/2011) in Midland, Michigan

- the Las Vegas Elvis Fest (7/28/2011 - 7/30/2011) in Las Vegas, Nevada

- the Vermont Reggae Fest (7/28/2011 - 7/31/2011) in Rochester, New Hampshire

- the 7th Annual Festival Celebrating Traditional Music (7/29/2011 - 7/30/2011) in Madison, Wisconsin

- the Saltwater Celtic Music Festival (7/31/2011) in Brunswick, Maine

... and then come all the great music festivals in August! For more information on these and other upcoming events, check out Festivals.com or simply return to the HillTop Records blog! As always, we will do our best to keep you in the know. And, of course, be sure to check out the HillTop Records Online Music Festival for Songwriters. Unlike those listed above, this event can be attended at any time of day or night--no matter where you are!

New Study Begs the Question: Are Musicians Smarter?

2011-06-22T12:11:00.000-07:00

Among the recent scientific studies currently making headlines, one should prove particularly interesting to our readers: Research compiled by an international group of esteemed scientists suggests that musicians' brains may be better developed than others'. More precisely, the following characteristics were found to be especially prevalent in the brains of musicians: alertness, an interest in learning, an enhanced ability to view the "big picture," the ability to remain calm in stressful situations, and playfulness. These same traits are often found in the brains of famous athletes, successful business professionals, and individuals who practice transcendental meditation. In short, it appears that musicians share a similarly high level of brain development with other people who are really, really good at something.

This groundbreaking study was conducted by Fred Travis of the Maharishi University of Management in the United States, Harald Harung of Oslo University College in Norway, and Yvonne Lagrosen of Sweden's University West. The researchers measured the brain development of a large group of professional and amateur classical musicians who were sorted by age, gender, and education. The researchers documented the subjects' reaction times during the Stroop color and word test, their brainwaves during an auditory ERP task and during paired reaction-time tasks, and their self-reported frequencies of peak experiences. These "peak experiences," described as a higher level of consciousness, are times when the individual feels an intense happiness or the triumph of transcending limitations. People with advanced mind-brain development tend to have more peak experiences than the average individual.

Along with the questionnaire documenting past peak experiences, test subjects were given the Gibbs Sociomoral Reflection questionnaire that measures social intelligence. This helped to determine their level of moral reasoning. Those with high mind-brain development also tend to have a high level of moral reasoning--and reasoning in general. Critical thinking skills are more finely tuned in highly developed brains. Brain development is measured in several ways through the use of Electroencephalography, or EEG, which is the recording of electrical activity along the scalp. An EEG will reveal special patterns in the electrical activity of the brains of people with high mind-brain development. For instance, they have especially well-coordinated frontal lobes. Frontal lobes are what we use for higher brain functions, such as making strategic plans and logical thinking. Another characteristic of highly developed brains is that activity at a certain frequency (the frequency of "alpha waves") dominates. Alpha waves occur when a brain puts details together to form a whole. One of the study's EEG measures showed that along with these functions, musicians are better able to use their brain resources economically. They are alert and ready for action when these qualities are functional, and relaxed and patient when a laidback attitude is functional.

According to the Unified Theory of Performance, effectiveness in any one part of the brain is influenced by one's level of mind-brain development. Emotional, cognitive, moral, ego, cortical development--these components work together and feed off one another to support greater effectiveness overall. Therefore, the fact that musicians are more advanced in certain areas (according to this study) can conclusively mean that their brains are operating at a higher level of efficiency. Simply put, musicians are smarter than the average human being. Also, these particular findings could possibly be used as ammunition in the battle to keep music curriculums in schools.

Now, remember that we mentioned at the beginning of this article that similar scientific studies have been conducted in groups of people with other obvious talents. Top-level managers, world-class athletes--these and other professionals share similarly high levels of mind-brain development. However, there were a few differences. In evaluating the results, the researchers noted that “the anomaly is between the control groups. The control athletes and the control managers had significantly lower scores on the Brain Integration Scale than the high functioning groups. In contrast, the amateur musicians had higher scores than the athlete and manager control groups, and a similar score as the professional musicians.” This particular discovery shows that those who learn music, even at an amateur level, experience cognitive gains that non-musicians do not.

Here at HillTop Records, we are not scientists. However, we'd wager that songwriters would, if tested, also show abnormally high levels of mind-brain development. This is partly because most songwriters do, at some point in their careers, learn to play an instrument. But it is also because it is not easy to become very good at something--and this achievement is what distinguishes the group of test subjects. Sure, there is raw talent--something you are born with, that you have no control over. But it is up to the individual to identify, nurture and hone that talent into something more.

Songwriting, like the ability to play a musical instrument, is both a talent and a skill. Some people are naturally born with the gift, but even those individuals must be taught (either by themselves or another person) what to do with that gift. The way our brain inherently is, greatly influences our ability to learn--and our learning in turn changes our brain. Transcendental meditation, making music and other artistic endeavors are good ways to change our brains for the better. It is also important to keep your brain healthy in physical ways, by getting enough sleep, following a sensible diet, exercising, and avoiding harmful drugs. Many studies have linked positive thinking to brain development, which should come as no surprise to our HillTop Records blog readers. We have long been promoting the benefits of positive thinking here, and Fred Travis has backed up our point of view with scientific proof: "If you are a very envious, angry, mean person and that's the way you think about people that's what's going to be strengthened in your brain," he explained. "But if you are very expanded and open and supportive of others, there will be different connections."

Along with validating music as an intellectual effort, this study illuminates the importance of passion on the brain. With passion comes the desire and drive to learn--a sport, an instrument, mathematics, whatever. The process of learning and eventually mastering a craft has a profound impact on brain development--and on quality of life. We've said before that songwriting is good for your health. This is further proof. So, to summarize, create music in any way that you know how--It's good for you!

A Guide to Self-Promotion for Independent Songwriters

2011-06-20T08:20:00.000-07:00

We've written many times on this blog about how the Internet has affected the world of songwriting. The World Wide Web has permeated every facet of the music industry--even the fact that you are reading this blog right now is evidence of that. For the independent (read: unsigned) songwriter, the Internet's presence is especially strong. Thanks to the Web, the independent songwriter can now reach a global audience in a variety of ways--with the downside being, of course, that so can everybody else. The Internet can be both a blessing and a curse to songwriters: A song can now be heard by potentially thousands of people, with just a click of a mouse and even free of charge! Thanks to sites like Myspace and Facebook, YouTube, individual blogs and websites like HillTop Records, and other online outlets, the playing field has been leveled. This leveling has in turn allowed for over-saturation, making the competition incredibly stiff for those songwriters vying to be heard. So, how does one promote oneself without the help of a major music label or professional marketing team? How can you successfully reach the masses with your music? Yes, the answer is the Internet--but, more specifically, the correct use of the Internet.

Step 1: Write great music.

"Well--obviously," you might be thinking. But consider the high number of songs out there--not just the songs being played on commercial radio, but the songs being played everywhere: on Myspace pages, in local dive bars, at house parties... What percentage of them would you actually qualify as "good"? And with as much of an objective viewpoint as you can possibly muster, how would you say your own songs measure up? Of course, it is extremely difficult (if not impossible) to view the songs you write yourself objectively. That is why it is important to gather opinions from outside sources before releasing your songs into the wild (or, as it were, onto the World Wide Web.)

Yes, feedback from friends and family can be nice--but perhaps too nice. While your mom or spouse might tell you that your songs are wonderful, an anonymous commenter on a website will not be nearly as polite--and once you have put your songs out there, you have opened yourself up to all types of critique. We therefore encourage all songwriters to seek feedback from music industry professionals. A fantastic resource for independent songwriters looking to ready their music for promotion is Studio Pros' project consultation service. You can upload an MP3 version of your song via their online form, and receive guidance and tips from the company's head of production free of charge. You can also find plenty of songwriting tips right here on our HillTop Records blog.

Step 2: Create a high-quality, professional-sounding recording.

Once you have taken the time and effort to write a beautiful song, don't ruin it by producing a low-quality recording. Yes, the right equipment and professional musicians can be expensive--but at the end of the day, this is an important investment in your songwriting career. Especially in the virtual world, where so much is anonymous, your song is your calling card--the first (and oftentimes only) chance you have to make an impression. Just as painters invest in quality frames and actors spend money on professional headshots, songwriters must consider the packaging of their final product. In the world of marketing and promoting, image matters.

Here at HillTop Records, we offer the total package: Our team of award-winning musicians and industry professionals works hard to arrange, record and package the songs of our songwriters under contract. To read more about the specific services we offer songwriters, head on over to our official website.

Step 3: Network with other professionals within the music industry.

In this highly competitive, over-saturated world of music production, who you know is extremely important. It is much easier to connect with other industrial professionals when you live in a major city like Los Angeles, New York or Nashville. However, there are ways to find contacts in other parts of the country as well--especially thanks to the ever-growing presence of social media. Become a "fan" of songwriters whom you admire on Facebook, subscribe to their personal blogs, and follow them on Twitter. Here at HillTop Records, we use all three of these methods to keep in touch with our songwriters and other music industry professionals. You can also find message boards, chat rooms, and other online forums--and establish yourself there by regularly contributing to the discussion. Also, be sure to always have copies of your recorded song handy (even if it's just on an MP3 file) to distribute to interested parties.

An important part of successful networking is showing support to your peers. People will be much more willing to help you once you have demonstrated your willingness to help them in return. If a fellow songwriter or musician invites you to a show or release party--go! You never know who you may meet in the process. And when you do happen to meet someone who may be able to help you in your career, be sure to get their contact information and keep in touch.

Step 4: Get online.

This one should be pretty self-explanatory by this point. We've already mentioned the basics: Facebook, Myspace, Twitter, YouTube, and so forth. There are also many great websites and online tools specially geared towards songwriters and musicians. Sites like CD Baby can sell and ship your physical CD's, or help you set up a PayPal account so you can do the work yourself. CD Baby also works with digital distribution, so it's a great resource for those looking to sell in major online stores like iTunes. Tunecore is another service that specializes in digital distribution for up-and-coming musicians. Meanwhile, Hostbaby and similar artist-friendly hosting sites will help you create your own personal webpage.

An easy way to establish yourself as a songwriter online is to sign a contract with HillTop Records and create your own Unique Songwriter Page on our official website. There you can feature a photo, a bio, contact information, and even direct links to listen to and download your songs online. Once you have your HillTop Records songwriter page in place, you can easily link it to whichever social networking site(s) you use.

5. Create a buzz.

Once you have completed the previous steps, you will finally be ready to promote your music! Keeping in mind that the primary goal is to get your music into as many hands (or ears) as possible, you will want to reach out to any and all media outlets. A great way to make a name for yourself as an independent songwriter is to get your song or album reviewed. Start by contacting bloggers, editors of online music magazines, local newspapers or weekly guides--any publication that you know of that covers music.

Another outlet is radio--both traditional and online. Seek out mainstream radio stations that do regular shows to highlight local artists, college radio stations, and Internet radio stations. These are the outlets that will be most receptive to your material. However, remember that the competition out there is fierce--even in the forums specially geared towards independent artists. DJ's and music writers are constantly being inundated with requests to play and review new songs--and this is exactly why it is so important to make sure that the quality of your work is as high as possible before you join the fray.

Also keep in mind that when you become a HillTop Records songwriter under contract, you have the opportunity to be featured on one of our own Internet radio stations!

In our constant quest to help independent songwriters on the rise, we at HillTop Records have recently announced our latest venture: The First Annual HillTop Records Online Music Festival for Songwriters. Once you have written and recorded your song, you will be ready to accomplish Steps 3-5 listed in this article--and our brand-new Online Music Festival can help you do just that! The first of its kind, this summer-long event provides unprecedented opportunities to showcase your music, network with fellow industry professionals, reach new fans, and promote yourself. We are so excited to offer songwriters this new stage on which to showcase their songs--and we encourage you all to take advantage of it! For more information on the Festival, check out its official website--and be sure to keep checking back here on our HillTop Records blog for updates!

Great American Songwriters: Prince

2011-06-13T09:00:00.000-07:00

Known as much for his flamboyant style and penchant for changing stage names, Prince is one of the most iconic American songwriters. He has graced countless stages, screens and airwaves with his over-the-top presence and amazing costumes. What makes him worthy of a mention on our HillTop Records’ “Great American Songwriters” series is, however, not his wardrobe or persona. It is his incredible contributions to American pop music. The singer, songwriter and musician has produced ten platinum albums and thirty Top 40 singles over the course of his career—and he is not showing any sign of slowing down soon.

Before the long list of award-winning albums and impressive accolades, the famous songwriter was born Prince Rogers Nelson in Minneapolis to musically inclined parents. His father was a pianist and songwriter and his mother was a jazz singer—so yes, as is the case with many successful songwriters, Prince was born with music in his blood. He wrote his first song (called “Funk Machine”) on his father’s piano when he was just seven years old. In high school, he formed his first band (Grand Central) with a childhood friend and his cousin. Prince played piano and guitar for Grand Central, which played gigs at local clubs and parties throughout Minneapolis. A short while later, the musicians changed the band’s name to Champagne and began to play original music written by Sly & the Family Stone, James Brown, Miles Davis, Jimi Hendrix and others.

Prince definitely learned the art of songwriting and performing at an early age. He also developed a great amount of business acumen and drive while he was young. At the tender age of 17, he brought a demo tape that he had made to Minneapolis businessman Owen Husney. He recruited Husney, who immediately signed him to a management contract, to help him procure a record deal. A new demo recording, a press kit and a few phone calls later—and Prince had a recording contract with Warner Bros. Not only did they give him a contract, but they even agreed to give Prince creative control for three albums and ownership of all publishing rights.

Prince’s first album, For You, was recorded in Sausalito, California after the musician moved there from Minneapolis. It was mixed in Los Angeles and released in 1978, when Prince was just 20 years old. The entire album was written and performed by Prince, except for the song “Soft and Wet,” which was co-written by Chris Moon. Furthermore, according to the published album notes, Prince also produced, arranged, composed and played all 27 instruments on the recording. And this was not even his first foray into professional music publishing. In the several years prior, Prince co-wrote several songs and contributed guitar tracks for his cousin’s band, 94 East. He then formed Prince's Music Co, which he used to publish For You. The cost of recording the album was double his initial advance, but Prince had faith that he would make that money back. The single from the album reached #12 on the Hot Soul Singles chart and #92 on the Billboard Hot 100 list. His next album, a self-titled compilation released in 1979, fared even better: It climbed to the #4 spot on the Billboard Top R&B/Black Albums charts, and to #22 on the Billboard 200. It went platinum, thanks to the R&B hits “Why You Wanna Treat Me So Bad?” and “I Wanna Be Your Lover.”

Prince certainly took full advantage of the fact that he had creative control over his early albums—and the artist was never one to shy away from controversy! In 1980, he released the album Dirty Mind, which he recorded in his own studio. It featured the hit single “Uptown” and several others that caused quite a stir for their suggestive lyrics. In response to the countrywide debates about his work, Prince titled his next album (released in ’81) Controversy. He also played a few shows as the opener for The Rolling Stones, who were on tour in the U.S. at that time. He was reportedly booed off stage, but that didn’t deter him from creating the kind of work that he believed in. Over the next few years, Prince continued to record music and play live with several side bands. In late ’82, he reached another level of success with the now-iconic double album 1999. The album sold over three million copies, and is still loved for songs like “Little Red Corvette.” The single’s video was one of the first two by a black artist to be played in heavy rotation on MTV. The other was Michael Jackson’s “Billie Jean.”

In the mid-‘80’s, Prince called his band The Revolution. They went on tour to promote 1999, and aptly set Prince up to release his most successful album to date: Purple Rain. Smash hits like “When Doves Cry” and “Let’s Go Crazy” solidified Prince’s place among America’s most influential pop songwriters. Purple Rain sold more than thirteen million copies, and the film by the same name (which featured many songs from the album) won an Academy Award. However, despite this great success (or perhaps because of it?) Prince’s music continued to be the source of major controversy. His song “Darling Nikki” is supposedly what prompted Tipper Gore to found the Parents Music Resource Center, which to this day advocates the mandatory use of the “Parental Advisory: Explicit Lyrics” label.

Around the World in a Day and Parade (which included “Kiss”) were also hugely successful. At the same time, Prince also wrote songs for other popular artists. In particular, he is credited with The Bangles’ hit “Manic Monday.” He also played electric guitar on “Like a Prayer,” “Keep It Together” and “Act of Contrition” for Madonna’s Like a Prayer (1989.) This non-stop string of hit projects, both solo and collaborative, continued on throughout the mid 1990’s. “Cream” off the ’91 album Diamonds and Pearls gave him his fifth number one single in the U.S.

In 1992, Prince made his strangest and most famous career move when he released his twelfth album, Love Symbol Album, with The New Power Generation. The cover bore only an unpronounceable symbol, which Prince later copyrighted as “Love Symbol #2.” He also famously adopted the symbol as his moniker, prompting the media to call him “The Artist Formerly Known as Prince” from 1993 to 2000. This launched a whole new stage in Prince’s career—even though his three-disc “greatest hits” compilation had already been released! Even now, Prince continues to break new ground—while, of course, doing everything his own way.

Prince pioneered the “Minneapolis sound,” a hybrid mixture of funk, rock, pop, R&B and New Wave. His innovation, wide vocal range, and larger-than-life personality continue to influence musicians around the world. He has to date won seven Grammy Awards, a Golden Globe, and the aforementioned Oscar. He was inducted into the Rock and Roll Hall of Fame in 2004, the first year he was eligible. That same year, Rolling Stone ranked him #28 on their list of the 100 Greatest Artists of All Time. He was also listed in TIME magazine’s 2010 ranking of the “100 Most Influential People in the World,” and he received the Lifetime Achievement Award at the 2010 BET Awards. From “Kiss” to “U Got The Look” to “The Most Beautiful Girl In the World,” his musical contributions are simply astounding. We know that he has influenced many of our HillTop Records songwriters, and he continues to build his legacy.

HillTop Records Announces its First Annual Online Music Festival for Songwriters!

2011-06-01T20:00:00.000-07:00

The time has come for us to let you all in on a little secret: There is a special reason why we have recently been writing a lot about music festivals (upcoming events, the history of music festivals, etc.) here on our HillTop Records blog. It is finally time to announce our latest venture, and it is a first-ever in the music biz: the First Annual HillTop Records Online Music Festival for Songwriters!

Our high-tech version of a traditional summer music festival, this one-of-a-kind event is up and running! The unique concept was designed to bring together songwriters and music lovers, regardless of their geographical location, gaining a bigger audience for up and coming songwriters. Maybe you live in a small town or remote area, a place that does not tend to attract major concerts or festivals. Or perhaps you work odd hours or a very busy schedule, and do not have the time to dedicate to days of live concerts. If so, the First Annual HillTop Records Online Music Festival for Songwriters is the perfect thing for you! You will be able to virtually visit the festival whenever you want, listening to as many or as few songs at a time as you wish. All of the songs entered in the festival will be available to hear online, and all songs will be original, so it is a great way to discover new songs and songwriters. Industry professionals are also encouraged to enjoy what the festival has to offer. Music publishers, record labels, agents and even established recording artists will be able to shop for new material, thanks to the organized and easy-to-browse format of the Online Music Festival. Simply click on "The Songs" link, and select the genre of your choice. You can listen to the song while you read a little bit about the songwriter. HillTop Records will also include a page featuring a few songs within each category that we especially recommend--and, of course, you will be able to browse all the songs in the festival by Songwriter Name or Song Title by clicking on the search feature on "The Songs" page.

Most importantly, there will be no fee to attend the festival; all you will need is an Internet connection. Festival-goers will be able to browse the music by genre, and even "like" their favorites. Listeners are encouraged to participate in the Festival by clicking "like" on as many songs as they see fit. These votes will be tallied at the end of the festival to determine the winner of The People's Choice Award. This award will be only one of eight distributed at the end of the festival--and, yes, there will be prize money involved!

The best song within each of the festival's five genres (Rock, Pop, Country, Gospel, and Urban/R&B) will all be awarded a cash prize of $250. The People's Choice Award will be worth $500, and the Best Song of the Festival as determined by the Judges will receive a Grand Prize Award of $1000 and the Festival Blue Ribbon. HillTop will also present a special Recording Contract Award to one talented songwriter. All of the awards will be announced on the final day of the festival (Labor Day, 2011) and award notification will be emailed and mailed to the award-winners the following day. All award recipients (except for the winner of the People's Choice Award) will be determined by our panel of expert judges. These judges are all renowned music industry professionals. Go to www.hilltoprecordsmusicfestival.com and click on "The Judges" blue navigation bar to read about each one. We are both proud and honored to have a fantastic panel of judges for our first festival. We know that their taste, knowledge and love of music will greatly contribute to the success of the event.

Here at HillTop Records, our primary goal is to help rising songwriters gain exposure, confidence, and the tools they need to succeed in the music industry. We see this festival as an extension of that. It will be a fun, new way for songwriters to get their names, their work, and their passion for music out there! All songwriters who own the copyright (words and music) to their songs may enter those songs in the festival--you may enter as many songs as you'd like. You are welcome to participate, whether you are affiliated with HillTop Records or not. However, we ask that if you are an established songwriter who makes a substantial portion of your income from the songs you write, then please, step aside, and allow this first-ever Online Music Festival to celebrate the works of America's songwriters on the rise.

So, how do you go about entering a song? Up-and-coming songwriters all around the country may upload their songs on MP3s and it is absolutely free! No charge to Songwriters! The songs will be sorted by genre: Rock, Pop, Country, Gospel, and Urban/R&B. A song may be entered in only one of the five genres. It must have both music and words (no instrumentals will be accepted) and those words must be in English. You must enter a recorded version of your song in an MP3 file, and the lyrics must be entered in the box provided (you may paste-in text) for the Judges eyes only. Judges need to read the written lyrics to insure that they get every word of the Songwriter's composition. The complete and Official Rules along with the directions may be found by visiting the festival's official website any day this Summer. It is our gift to America's Songwriters! We'll see you at the Festival!

There's Nothing "Gloomy" About June's Music Festivals!

2011-05-25T15:12:00.000-07:00

What better way to celebrate summer than with a good, old-fashioned music festival? Live music, good food and company in the great outdoors is a beloved American pastime! No matter which part of the country you're in, you can surely find a fun event near you this June!

Los Angeles, California is kicking off the month of June with its 2011 Wine, Jazz & Moonlight Concert Series (6/1/2011 - 8/31/2011.) The festival features 13 weeks of outdoor concerts produced by KJAZZ FM. Performers set to headline at this beloved annual event include Poncho Sanchez, Jose Rizzo and Pete Escovedo. Concerts are free and donations benefit Project Angel Food.

Also starting the first of the month is Erie's Wild Rib Cook Off & Music Festival (6/1/2011 - 6/4/2011) in Erie, Pennsylvania. By combining local cuisine and live entertainment, the family-friendly event offers something for everyone.

Enterprise, Alabama is also celebrating June with the Bama Jam Music & Arts Festival (6/2/2011 - 6/4/2011.) The large event revolves around Bama Village, a pop-up destination filled with games, stages and vendors. Music lovers gather all weekend at the BamaSlam Saloon, where the concerts continue late into the evening.

If you love bluegrass music, then you should definitely try to get to Niles, Michigan that same weekend! The Niles Bluegrass Festival is once again taking over the downtown area from 6/2/2011 to 6/5/2011. It is set to include two stages showcasing national touring acts and regional favorites.

At the same time, The Eureka Springs Blues Weekend (6/2/2011 - 6/5/2011) will be heading to Eureka Springs, Arkansas and bringing with it local, regional, national and international blues acts.

The following week, 6/3/2011 - 6/5/2011, a music festival of special interest to up-and-coming songwriters is taking place in Nashville, Tennessee: the 9th Annual Nashville SongWriters Fest on Music Row. The exciting event is a must for all music industry professionals in the area.

... And that's just the beginning! Other fun-filled music festivals to look out for in June:

- the Tupelo Elvis Festival (6/2/2011 - 6/5/2011) in Tupelo, Mississippi

- the Wakarusa Music and Camping Festival (6/2/2011 - 6/5/2011) in Lawrence, Kansas

- the Western Maryland Blues Festival (6/2/2011 - 6/5/2011) in Hagerstown, Maryland

- the Bardstown Bluegrass Festival (6/3/2011 - 6/4/2011) in Bardstown, Kentucky

- Guadapalooza 2011 (6/4/2011) in New Braunfels, Texas

- June Jam (6/4/2011 - 6/5/2011) in Chicago, Illinois

- the Morro Bay Music Festival (6/4/2011) in Morro Bay, California

- the Brooklyn Folk Festival (6/10/2011 - 6/12/2011) in Red Hook, Brooklyn, New York

- Rockabilly Luau (6/18/2011) in Atlanta, Georgia

- the Groovefest American Music Festival (6/22/2011 - 6/26/2011) in Cedar City, Utah

- Music in the Mountains (6/22/2011 - 6/25/2011) in Summersville, West Virginia

- the OATS Bluegrass Festival (6/30/2011 - 7/3/2011) in Benton, Pennsylvania

Can't make it to any of these music festivals? Check out Festivals.com for more ideas--and be sure to keep checking back here at our HillTop Records blog for more information on upcoming events!

Music Festivals: An Historical Perspective

2011-05-18T16:45:00.000-07:00

Each month, we choose a selection of upcoming music festivals to highlight here on our HillTop Records blog. Especially during the summer, when the days are longer and the weather remains warm into the evening, music festivals are a popular way to experience live music. They typically offer more diversity and variety than a common concert, and the fun and festive atmosphere only makes the experience more enjoyable. Music festivals are great ways to see your favorite bands live, celebrate a specific genre or style, or discover new acts that you may not have otherwise been exposed to.

Historically, music festivals have been around for centuries. They can be traced back to the Pre-Dynastic Period around 4500 B.C., when the ancient Egyptians used live music and dance for their religious rites, ceremonies, and political events. Of course, music has always been important to many cultures. It was often incorporated into the rituals of ancient tribes--sometimes to the extent that it became the main focal point of the event. One of the earliest documented organized music festivals was during the Pythian Games at Delphi in ancient Greece in the 6th century B.C. During the Middle Ages, music festivals developed as competitive events sponsored by the cities' guilds (unions.) They continued to thrive throughout Europe and in other parts of the world. These days, music festivals--competitive and otherwise--remain a beloved pastime.

Many of America's earliest music festivals have died out. However, there are still quite a few that remain successful today. The Ole Time Fiddlers and Bluegrass Festival, originally established in 1924, still draws impressive crowds to the Fiddler's Grove Campground in North Carolina each Memorial Day Weekend. It is the oldest continuous Old Time Fiddler's contest in North America. The Aspen Music Festival, founded in 1949, is also still going strong. Other long-standing music festivals in the United States include the Miami Music Festival (1968) and the Texas International Pop Festival (1969.)

According to the Library of Congress, however, the oldest music festival in the United States predates all of those events by a significant number of years. It is the Worcester Music Festival, which has been bringing live music and dance to Central Massachusetts for over 150 years! The festival was first held back in 1858, and it continues to return to Worcester year after year. The Worcester Music Festival features performances by world-renowned orchestras and guest soloists, chamber music, ballet, world music and dance, jazz, and choral masterpieces.

One of the most successful U.S. music festivals to date, the Newport Jazz Festival, was established in 1954. Billed as the First American Jazz Festival, the event has brought together many of the country's most legendary performers. The "Mecca of jazz" has hosted the likes of Thelonious Monk, Miles Davis, John Coltrane, Louis Armstrong, Duke Ellington and Ella Fitzgerald. We recently wrote about the world-famous festival and other events in Newport, Rhode Island here on our HillTop Records blog. The Newport Jazz Festival is currently gearing up to return to Rhode Island in early August, and the 2011 line-up (set to include Esperanza Spalding, Ravi Coltrane and Michael Feinstein) was recently announced.

One historic American music festival that we have yet to mention is probably the country's most famous of all: the Woodstock Music & Art Fair, usually known simply as "Woodstock." Originally billed as "An Aquarian Exposition: 3 Days of Peace & Music" in 1969, the massive event was an unprecedented success. It was held on a 600-acre dairy farm in Bethel, New York and it featured 32 live acts. What surprised the organizers, however, was the size of the crowd the festival drew: 500,000 concert-goers showed up for the weekend! Although poor planning and insufficient security made the festival a failure in some respects, its main goal--to create a harmonious, bohemian atmosphere centered around quality music that spoke to the current social climate--was met. The line-up included some of the greatest American musicians of all time, including some songwriters whom we have featured right here on our blog. Arlo Guthrie, Janis Joplin, Tho Who, the Grateful Dead and other iconic artists lit up the stages at the 3-day festival.

Since Woodstock, no music festival has had quite the same effect on the American public. Its cultural significance was, of course, in part due to the time period. Perhaps if it had continued as an annual event, Woodstock would be seen as something very different today. However, it currently remains in the hearts and minds of many Americans--not only for its music, but also for its ability to create a loving, peaceful atmosphere that has never been replicated since. In 2009, to mark the 40th anniversary of the event, a second Woodstock was held. The music was still great, but the air just wasn't the same. A year prior, the Museum at Bethel Woods was opened to showcase interactive displays, text panels, artifacts and films about Woodstock. The exhibits really help to illuminate the festival's significance as the culminating event of an entire decade--and of a radical cultural transformation. It is a great attraction for anyone nostalgic for the Sixties.

Woodstock and other large-scale music festivals in the U.S. and around the world are, it seems, more than a big concert. Their ability to draw such massive crowds with a common interest make them powerful forces in a society that is constantly becoming more far-flung and less connected by modern technology. Here at HillTop Records, we truly love music festivals for the way they bring people together. In a time when the music industry is experiencing such monumental changes, they serve as a reminder of why we got into it in the first place.

Writing Songs For Your Health: The Power of Music Therapy

2011-05-11T14:44:00.000-07:00

An artist plays an important role in society, and in the collective mental health of mankind. While a song, painting or poem may not directly save someone’s life, according to many recent studies, it can have a profound impact on the wellbeing of its audience. For as long as human beings have pounded drums and plucked strings to create melodic noise, the sound of music has affected people’s thoughts and feelings. The most common result is a greater sense of calm and happiness. We now know that these emotions can have a positive effect on physical recovery time, whether from an illness or injury. We thought our HillTop Records songwriters might like to know just how much they are helping the world with their creative endeavors.

Dentists have often given their patients earphones to help ease anxiety before a major procedure, like a root canal. A couple of years ago, Dr. Damir Janigro took this technique a step further when he conducted a study among neurosurgical patients. Patients suffering from conditions like epilepsy, brain tumors, severe depression, obsessive-compulsive and motor disorders (such as Parkinson’s) have to stay awake for certain surgical procedures—some of which can take several hours. In association with Cleveland Clinic’s Arts and Medicine Institute, Dr. Janigro exposed these neurosurgical patients (while they lay wide awake, during these obviously stressful and traumatizing procedures) to certain sounds and music, and recorded their neural activity. Janigro chose his musical selections very carefully: They included rhythmic pieces by Györgi Ligeti with no discernible melody, melodic music with undefined rhythm (by Aaron Jay Kernis) and something more familiar, somewhere in between (by Ludwig van Beethoven.) Later on, he had music specifically composed for the study so as not to sway subjects’ responses with familiarity.

At the end of the study, the twelve patients in the study almost unanimously said that the purely melodic offerings were most soothing. The recordings of the patients’ brain activity were, however, the most fascinating results of the study. Apparently, the melodic music significantly decreased the activity of individual neurons deep in the brain—thus calming patients to the point of sleep. Some even started snoring! If the doctor needed a patient to perform an action during the surgical procedure, such as lifting an arm, he simply removed the earphones for a moment. Once the music resumed playing, the patient went back to his or her slumber.

So, what does this mean for the advancement of music therapy within the medical profession? It seems that the relaxation listening to music can provide can have great benefits—on and off the operating table. From controlling blood pressure to decreasing overall recovery time, there are many tremendous benefits to this calmer (thanks to music) state.

While music may be a new addition to the world of surgery, its therapeutic properties have long been accepted within the medical community. It’s not hard to see for yourself, how music can affect your mood. Many people turn to music after an especially strenuous or tumultuous day. And studies have shown that music does not only help to reduce stress; it can also improve cognitive and memory function. Most studies demonstrate that it does not matter what time of music is used, as long as it is preferred by the subject(s.) Music therapy is widely practiced throughout the United States and other countries to alleviate pain, reduce anxiety, lower blood pressure and heart rate, decrease the amount of sedative medication needed, and especially to improve early recovery in stroke patients suffering from a lack of fused attention and/or verbal memory. Music can even help boost anti-tumor response in patients suffering from certain types of cancer.

Even better than listening to music for its therapeutic properties is, perhaps, the act of creating music. Anyone who has ever experienced the joy and confidence that come from learning to play an instrument should not be surprised to learn that the art actually has health benefits. All art does, really; writing is no exception. The meditative state that artists retreat to while they are writing, composing, painting, drawing or otherwise creating is greatly beneficial to the psyche and the body. So as if our HillTop Records songwriters didn’t already have enough reasons to keep writing music, here’s one more: It’s actually good for you—and for those around you as well.

Want more information about music therapy and the ways that it’s used? If so, check out http://www.musictherapy.org/.

Even Better Than “May Flowers”: May’s Best Music Festivals!

2011-05-04T17:21:00.000-07:00

The first of May has come and gone—but that doesn’t mean that the month’s festivals have passed! On the contrary, in fact: There is a lot to look forward to this May, no matter which part of the country you may be in.

Amarillo, Texas is celebrating Cinco de Mayo with the Greater Southwest Music Festival (5/5/2011 - 5/7/2011.) The much-loved annual event is returning for the 39th time to the Civic Center and the Globe News Center for the Performing Arts. Local bands, orchestras, choirs, jazz bands, string and woodwind groups, and even solo vocalists are set to perform and compete.

Also this weekend, the Bluegrass/Music Festival is planning to liven up the streets of Poteau, Oklahoma (5/6/2011 - 5/11/2011.) The festival, complete with everything from live bluegrass to a karaoke contest, promises fun for the whole family.

With the month of May also comes the near-end of the school year, and Cañon City, Colorado is certainly celebrating that! The annual Cañon City Music & Blossom Festival (5/6/2011 - 5/8/2011) invites high school bands to compete on multiple stages, surrounded by craft and food vendors. A carnival, a parade, and guest concerts are other highlights.

If you love disco, you should definitely do your best to get to Elizabeth, New Jersey this weekend. Disco Fever (5/7/2011) revolves around a 2-hour show, headlined by the same artists that made the songs great in the '70's. Thelma Houston, Anita Ward, Maxine Nightingale and others are set to hit the stage of the Ritz Theatre.

A new event to help raise funds to complete a local park, the Sewanee Village Music Fest (5/7/2011) is fun for a good cause. The free festival will have food, drinks and (of course) live music against the picturesque backdrop of the Downtown Sewanee Village Park in Sewanee, Tennessee.

Other great music festivals to look forward to this May:

- Silver Dollar City's Bluegrass & BBQ Festival (5/12/2011 - 5/30/2011) in Branson, Missouri

- SuperTwang (5/13/2011 - 5/15/2011) in Speedwell, Tennessee

- Rock, Roll & Reminisce (5/14/2011 - 5/15/2011) in McDonough, Georgia

- The Solo Soul and Blues Festival (5/14/2011) in Humble, Texas

- The Topanga Banjo Fiddle Contest & Folk Festival (5/15/2011) in Agoura Hills, California

- The Hillside Bluegrass Music Festival (5/19/2011 - 5/21/2011) in Cochran, Georgia

- The Seaside Music Festival (5/19/2011 - 5/21/2011) in Seaside Heights, New Jersey

- The Apple Jam Music Festival (5/20/2011 - 5/22/2011) in Williams, Oregon

- The Ohio River Valley Folk Festival (5/20/2011 - 5/22/2011) in Madison, Indiana

- Sonoma Jazz (5/20/2011 - 5/22/2011) in Sonoma, California

- The Wildflower! Arts and Music Festival (5/20/2011 - 5/22/2011) in Richardson, Texas

- Bourbon Street Blues Fest (5/21/2011) in Califon, New Jersey

- The Doheny Blues Festival (5/21/2011 - 5/22/2011) in Dana Point, California

- Jimmies Jam (5/21/2011) in Meridian, Mississippi

- The Silver Lake Jubilee (5/21/2011 - 5/22/2011) in Los Angeles, California

- The 9th Annual Hottest Cool Jazz Festival (5/21/2011 - 5/22/2011) in Middleburg, Virginia

- The Indie Music Fest (5/21/2011) in Las Vegas, Nevada

- The LA Acoustic Music Festival (5/22/2011) in Santa Monica, California

- The Jacksonville Jazz Festival (5/26/2011 - 5/29/2011) in Jacksonville, Florida

- The Kerrville Folk Festival (5/26/2011 - 6/12/2011) in Kerrville, Texas

- The Lil John Mountain Music Festival (5/26/2011 - 5/28/2011) in Snow Camp, North Carolina

- The Sterling Stage Folkfest (5/26/2011 - 5/29/2011) in Sterling, New York

- The Backwoods Bash Music and Camping Festival (5/27/2011 - 5/30/2011) in Tulsa, Oklahoma

- The Florida Folk Festival (5/27/2011 - 5/29/2011) in White Springs, Florida

- The Sacramento Jazz Festival and Jubilee (5/27/2011 - 5/30/2011) in Sacramento, California

- The Atlanta Jazz Festival (5/28/2011 - 5/30/2011) in Atlanta, Georgia

- The Edmond Jazz & Blues Festival (5/28/2011 - 5/29/2011) in Edmond, Oklahoma

- The Kentucky Reggae Festival (5/28/2011 - 5/30/2011) in Louisville, Kentucky

Meet the Drums

2011-04-27T17:10:00.000-07:00

The world's oldest and most ubiquitous instruments are members of the drum family. And despite the primitive simplicity of its original design, the basic shape and function of the drum has remained virtually unchanged for thousands of years. Proving that sometimes you just get it right the first time, the drum remains one of the most popular instruments across the globe. It is not only loved by our musicians here at HillTop Records, but also by cultures around the world for its long history, impressive versatility and distinct sound.

Even someone with no musical knowledge or ability can immediately recognize and figure out how to play the drum. In fact, we humans are not the only species to employ the technique. Macaque monkeys are known to rhythmically drum objects to communicate dominance; the practice suggests an evolutionary origin to drumming as part of social interaction. Other primates make drumming sounds by beating their chests or clapping their hands, and even rodents like kangaroo rats have been documented drumming their paws on the ground. Like these animals, human beings have historically used drums not only as a musical instrument but also as a means of communication. Take, for example, the talking drums of Africa that can imitate inflection and pitch to communicate over great distances. The people of Sri Lanka have been communicating this way for over 2,500 years. Military troupes around the world also use drums to help motivate, set marching pace or even call out orders and announcements.

Today, drums are commonly used in religious ceremonies and music therapy. They are highly revered by many cultures, and have even acquired divine status in some places. For example, the ancient karyenda drum of Burundi is widely accepted as a symbol of the power of the king.

These anecdotes set the drum apart from any other instrument, and they provide fascinating insight into its rich history. However, here at HillTop Records, we are definitely most interested in the drum's musical characteristics. Typically played by the hand or by one or two sticks, the drum is known to set the pace or rhythm of a song. It is the coxswain that steers the other instruments in the right direction--and, despite the aforementioned accessibility and ease of the drum, there is actually quite a large amount of skill involved.

Most drums adhere to a classic shape and construction: There is almost always a shell with a circular opening, over which the drumhead is stretched. However, you will find slight variations (especially with regards to the shape of the shell) depending upon the place of origin and musical genre. In western music, the shell is typically cylindrical. One exception is the timpani, which uses a bowl-shaped shell. Other popular shapes include truncated cones (as seen with the bongo or Ashiko) and goblets (ie. the djembe.) The talking drum uses joined truncated cones, and the tar and Bodhrán drums feature a frame design. These shells can be open at one end, or even have two drum heads. The latter style will typically have a small hole somewhere halfway between the two heads, and they may also include a set of wires ("snares.") Other unique kinds of drums include the African slit drum (also known as a "log drum," as it is literally made from a hollowed-out tree trunk) and the Caribbean steel drum, made from a metal barrel.

The sound of a drum depends upon variables like the shape, size and thickness of the shell, the materials from which the shell was made, the type of drumhead used, the position of the drum, the counterhoop material, and even the velocity, angle and pressure with which it is struck. And this, of course, is where skill comes into play. A jazz drummer will play the instrument differently from a rock drummer--and will even require a different type of drum. The modern tom-tom drum runs the gamut to offer a loud, dry and low-pitched or a high-pitched, resonant sound. These days, however, you will rarely see a single drum being used in contemporary pop music. Instead, a cluster of drums--called a "drum kit"--is used for range and diversity.

Today's drum kit (also called a "drum set" or "trap set") can include a variety of drums as well as various cymbals and other percussion instruments. Cowbells, wood blocks, triangles, chimes or tambourines may be added to the drums--and then all played by a single drummer at once using sticks, brushes or mallets. Additionally, a bass drum is played by a foot-operated pedal and hi-hat cymbals may be struck together using a combination of sticks or brushes and a foot pedal. A full-size drum set without any additional percussion instruments has a bass drum, a floor tom, snare drum, tom-toms and a variety of cymbals including hi-hat cymbals, a ride cymbal and a crash cymbal. Of course, this combination can vary according to genre; an old-style jazz/dance hall kit is different from a modern rock/techno kit.

Taking the modern drum kit a huge leap forward is the electronic drum, rapidly growing in popularity. Over the past decade, an increasing number of drummers have begun to use some or all electronic drum components. There are two approaches to using electronic drums: One is to use drum pads (coated discs that are mounted to resemble traditional drum shells) that when struck, trigger synthesized or sampled drum sounds, and even non-musical sounds like sound effects and pitched notes. Since the sounds are produced by a synthesizer, there is virtually no limit to the range. A drummer can even choose to replace every instrument in his kit with a drum trigger pad. The second approach is to use an acoustic drum kit and attach trigger sensors to each drum and cymbal. These sensors are then routed to a synthesizer in a way that allows the drummer to alternate between traditional, natural drum sounds and quirkier, electronica-type sounds throughout a performance.

Once you have your electronic drum kit, you can download (via the Internet, and for a price) a full library of sampled drum beats and other synthesized sounds. You can then cut, splice and add whatever combination of sounds you want to your electronic repertoire, press a button, and walk away! This new ability has greatly effected the world of music recording and live performance, as the drums no longer need to be played alongside the other instruments being used (or at all, really.) A major advantage of using an electronic drum kit is that you can adjust the sound. This makes it a great option for quieter venues, and even practicing at home. What's more, electronic drums do not need to be mic-ed or sound-checked. They may not have the full range of tonal options and textures that natural drums provide, however, and the overall "feel" of the equipment is not the same. Another potential disadvantage is that that an electronic drummer obviously needs a PA system or keyboard amplifier. We're sure that as the years go on, this exciting technology will continue to evolve. Here on our official HillTop Records blog, we will do our best to keep you informed on updates within the world of drums and other instruments!

Great American Songwriters: Thomas A. Dorsey

2011-04-25T08:10:00.000-07:00

It is no secret that we at HillTop Records love gospel music. The songs of praise and worship written by our own gospel songwriters can be heard on our official website, and even on our new gospel music radio station. We love the genre's ability to inspire hope and devotion, and to touch the heart and soul on a deeper level. For many years, gospel music has been crossing and combining other genres to offer rich diversity of sound and clarity of message. Christian music lovers in America and around the world are inspired by new gospel songs and by songs that have been around for many decades. One of the most popular gospel songs to date is "Take My Hand, Precious Lord." The famous piece was a favorite of Rev. Martin Luther King Jr.'s. It was performed by legendary gospel singer Mahalia Jackson, and it was composed by none other than "the father of black gospel music" himself, Thomas A. Dorsey.

Born to a minister father and piano-playing mother, Thomas Dorsey had religion and music in his blood. He learned to play blues piano at an early age, and went on to formally study music after high school. He got his feet wet in the music industry as an agent at Paramount Records, and even created a band for Ma Rainey called the "Wild Cats Jazz Band" in 1924. As an artist, Dorsey played various gigs under multiple stage names; the one that stuck for the longest time was "Georgia Tom" (for his home town of Villa Rica, Georgia.) Oddly enough for a man now known for his contributions to gospel, Dorsey got his first taste of success with a rather raunchy single--"Tight Like That," recorded in 1928 with fellow musician "Tampa Red" (ie. Hudson Whittaker.) The hit song sold more than seven million copies, and it was only the first of many great hits for Dorsey. Throughout his lifetime, the songwriter recorded over 400 blues and jazz songs. Of those, quite a few were gospel songs.

By the mid-1920's, Dorsey had established himself as a gospel songwriter. Early success led to a 1930 performance at the National Baptist Convention, where he saw his audience grow exponentially. Thomas Dorsey became the bandleader of two churches in the 1930's, and his career appeared to be on the rise. However, in 1932, Dorsey's personal life took a horrific hit: His first wife, Nettie, died in childbirth. Two days later, the child in question also passed away. Instead of allowing the grief to cripple him, Thomas Dorsey managed to channel the emotion into his songwriting--and it led him to compose one of the most famous gospel songs of all time: "Precious Lord, Take My Hand."

Along with being a gifted songwriter and musician, Thomas Dorsey was also a savvy businessman. When he became unhappy with the way the music industry was handling his music, he set off on his own to establish the first ever black gospel music publishing company: the Dorsey House of Music. He also founded his own gospel choir, and was a founder and the first president of the National Convention of Gospel Choirs and Choruses. At the same time, the prolific Dorsey continued to write chart-topping gospel songs. In 1937, he wrote "Peace in the Valley" for Mahalia Jackson. The song went on to become a huge hit for Red Foley in 1951, and it has since been performed by a great number of other artists (including Elvis Presley and Johnny Cash.)

Dorsey's style of songwriting was so unique that his pieces became referred to as "dorseys." Many other musicians imitated his method of combining Christian praise with the rhythms of jazz and the blues. While this fusion may not seem strange today, it was quite innovative during Dorsey's time. What's more, up to that point, standard hymnal practice had singers referring to the self only as an individual subsumed into a group via belief; Dorsey deviated from this practice by obviously addressing the self, and the self's direct relationship with faith and God. It was the creation and promotion of these new elements that earned Thomas Dorsey the title "father of black gospel music."

Thomas Dorsey's influence was not, however, limited to African American music. Many white musicians also followed in his footsteps. "Precious Lord" has been covered by everyone from Elvis Presley to Roy Rogers. Albertina Walker, Little Joey McClork and The Caravans also publicly cited Dorsey as a major influence. The great American songwriter was the first African American to be elected to the Nashville Songwriters Hall of Fame, and also the first to be inducted into the Gospel Music Association's Living Hall of Fame. In 2002, the Library of Congress honored Precious Lord: New Recordings of the Great Songs of Thomas A. Dorsey (1973) by adding it to the United States National Recording Registry. In 2007, Dorsey was inducted as a charter member of the Gennett Records Walk of Fame in Richmond, Indiana. His papers are still preserved on the main campus of Fisk University, along with those of W.C. Handy and George Gershwin.

Despite this monumental success, Thomas Dorsey remained humble until his dying days in 1993. He was known as much for his songwriting as for his community service, and he was the music director at Pilgrim Baptist Church in Chicago until the late '70's. Now, his legacy continues here on Earth as he receives his final reward in Heaven. Throughout his life and career, Dorsey used music as a way to communicate with God and share the message of the holy gospel. He once said of his earliest days as a musician:

“I sat down at the piano and my hands began to browse over the keys. Then something happened. I felt as though I could reach out and touch God. I found myself playing a melody, one I'd never heard or played before, and words came into my head -- they just seemed to fall into place...”

We know that our own HillTop Records gospel songwriters have felt similarly inspired, and we are proud to be a part of the process.

Celebrate Easter with the Top Gospel Songs

2011-04-22T11:44:00.000-07:00

It's been a while since we've written a blog entry about the world of gospel music. We feel that now--on Easter Sunday--this the perfect time to revisit the wonderful genre. Here at HillTop Records, we love and celebrate gospel music. You can hear heartfelt, inspirational pieces by our gospel songwriters on our gospel radio station and on our official website. One thing you may notice about contemporary gospel is its ability to cross over into multiple genres. Unlike other types of music, gospel is not identified by the instruments, chords or rhythms used--but by the message sent.

Because gospel music is most commonly listened to live, in churches and other venues across the country, the popularity of particular songs is difficult to track. Only recently have the sales of gospel songs been documented, and most of the charts typically focus on contemporary Christian music. However, many of the classics still remain popular today--and they will most certainly be sung this coming Easter weekend. The top 10 classic gospel songs are as follows:

1. "Amazing Grace"
2. "God is Good"
3. "Will the Circle Be Unbroken"
4. "Victory in Jesus"
5. "How Great Thou Art"
6. "Because He Lives"
7. "This is My Desire"
8. "There's Something About That Name"
9. "Blessed Assurance"
10. "His Name Is Wonderful"

Each of these pieces has been performed countless times by church choirs and individual artists. If you are at all familiar with gospel music, then you have undoubtedly heard them all. However, over the past several decades, many other numbers have been added to the diverse, dynamic world of gospel music. From rock to folk, old-fashioned hymns to country, the songs of Christian music now span a variety of genres and styles. Last October, mademan.com posted a definitive list of the top 10 best-selling gospel songs of all time. Now of course, due to the very nature of the genre, this list will not necessarily coincide with the one above (which reflects popularity, not record sales.) Still, the list may surprise you:

1. "Awesome God" by Rich Mullins
2. "The Heart of Worship" by Michael W. Smith
3. "Not Ashamed" by The Newsboys
4. "Jesus Freak" by DCTalk
5. "Lord I Lift Your Name on High" by PETRA
6. "Forever" by Chris Tomlin
7. "Amazing Grace" by John Newton
8. "Open the Eyes of My Heart" by Sonicflood9. "He is Exalted" by Twila Paris
10. "This is My Desire" by Hillsong Music

These hit singles reflect how far gospel music has come, and they are only a small sampling of what the genre offers. Nowadays, songs of praise and worship can be heard far from the confines of any church. Traveling gospel choirs, contemporary Christian rock bands, and multiple Christian radio stations help to promote the word of the gospel. Groups like Hillsong, Petra and Sonicflood have helped to transform the image and audience of Christian music. New songs are constantly being released, and their popularity and revenue charted. This past week, the top 10 gospel songs were:

1. "I Smile" by Kirk Franklin
2. "Nobody Greater" by VaShawn Mitchell
3. "I Give Myself Away" by William McDowell
4. "Walking" by Mary Mary
5. "Well Done" by Deitrick Haddon
6. "My Heart Says Yes" by Troy Sneed
7. "I Believe" by James Fortune & FIYA
8. "Over & Over" by Trin-i-tee 5:7
9. "It's About Time For A Miracle" by Beverly Crawford
10. "I Choose To Worship" by Wess Morgan

Source: http://mostpopularsongs.net

These three lists combined give you a great selection of gospel music with which to celebrate and honor your faith this holiday weekend. If you are looking for Easter-specific songs, meanwhile, you may find even more beautiful songs of worship and praise. From somber spirituals like "He Never Said a Mumblin' Word" and "Were You There" to the classic "I Know It Was The Blood" sung by Reverend James Cleveland and the Voices of Tabernacle, to Christian hip hop songs like The Cross Movement's "Blood Spilla" and "What Do You See," there is a wealth of material to choose from this Easter.

If you are looking to round out your Easter repertoire, also consider the following favorites: "Calvary" by Richard Smallwood, "For The Love Of The People" by The Clark Sisters, "The Blood will Never Lose Its Power" by Andrae Crouch, and the perennially-loved "Oh Happy Day" by Edwin Hawkins Singers. Also be sure to check out the latest by our HillTop Records gospel songwriters. We hope our music can be a part of your Easter celebrations, and we will continue to bring you the latest news within the world of gospel and the music industry as a whole.

Meet the Electric Guitar

2011-04-20T08:00:00.000-07:00

First invented in 1931, the electric guitar is definitely one of the world's younger instruments. However, despite its youthful age, the electric guitar is also one of the world's most popular. It is, at least, one of the most recognizable--and a major component of today's typical rock band. Here at HillTop Records, we use the electric guitar in our recordings of rock and roll, jazz and most other genres. The distinct sound and versatility that the instrument provides make it a vital part of the songwriting and playing experience.

The electric guitar is a complex instrument that was designed by guitar makers and instrument manufacturers for a specific purpose: to amplify sound. Early experiments at electrically amplifying the vibrations of a string instrument date back to the early part of the twentieth century, with inventors inserting telephone transmitters into violins, banjos, and the like. In the 1920's, hobbyists attached carbon button microphones to the bridge. However, the vibration detected from the bridge of the instrument resulted in too weak a signal. During this time, many musicians and manufacturers were focused on creating this elusive amplified instrument--so many that, in fact, it is impossible to pinpoint exactly when (or by whom) the fundamental technology was invented. Les Paul, George Beauchamp, Adolph Rickenbacker and other innovators were, nonetheless, influential pioneers.

Instantaneously, the newly-born electric guitar found its niche within the music industry: It satisfied the demand for a larger guitar sound during the big band era, when orchestras were rapidly increasing in size. The electric guitar's amplified sound was able to compete with growing brass sections in a way that the more traditional acoustic guitar's simply could not. At the same time, jazz musicians were snatching up their first electric guitars--hollow archtop acoustic guitars whose bodies were augmented by electromagnetic transducers. By 1932, the electronically amplified guitar was commercially available. Thanks to companies like Rickenbacker, Dobro, National, AudioVox and finally Gibson in 1935, musicians around the world were soon falling in love with the electric guitar.

These and other manufacturers began to experiment with the basic model (a body made of solid wood, without functionally resonating air spaces) to create various types of electric guitar. Rickenbacher developed the aluminum electric steel guitar, still called "The Frying Pan" or "Pancake Guitar" today, that is known for its modern and aggressive sound. By 1934, Vivi-Tone had put out the first solid body "Spanish" standard guitar. It featured a guitar-shaped body made of a single sheet of plywood affixed to a wood frame. The "Electro Spanish," made of Bakelite, was sold by Rickenbacker and by 1936, Slingerland had introduced its own version of the wooden solid body electronic guitar.

The first documented performance using an electronically amplified guitar was in 1932 by Gage Brewer of Wichita, Kansas. The musician used an Electric Hawaiian A-25 (frypan, lap=steel) and a standard Electric Spanish from George Beauchamp's Los Angeles company. Articles in the local papers publicized Brewer's new instruments, creating a buzz within the community. In other parts of the country, the first recordings using the electric guitar were being made by Hawaiian-style players. In 1935, Bob Dunn of Milton Brown's Musical Brownies first introduced the electric Hawaiian guitar to Western Swing. The resulting fusion promised a new era for jazz and blues, led in part by Charlie Christian during his short-lived jazz guitar career. Hits like George Barnes' "Sweetheart Land" and "It's a Low-Down Dirty Shame" were also among the first to employ the electric (Spanish) guitar.

Physics Professor Sidney Wilson of North Carolina State University won First Prize at an Engineering Fair in 1940 for his invention of the world's first fully electric guitar. Professor Wilson's instrument was also the first to have single-string pick-up, which addressed an earlier version's problem of unequal sound volume. Another notable feature of the new guitar was its lack of acoustical body, as Professor Wilson had discovered that this was not necessary for a fully electric instrument. Wilson failed to patent his cutting-edge design and later, in 1949, when Gibson incorporated elements to create its ES-175, the credit went to the company's own engineers.

Just as the shape and type of the electric guitar varies, as do the many ways in which the instrument may be played. String bending, tapping, dive bombing, the use of a slide, volume swells, pinch harmonics or "squealies"--these and other methods create very different sounds. Furthermore, since the electric guitar is connected to an amplifier (the signal generated by converting vibrations via electromagnetic induction is too weak to hear otherwise), the use of electronic circuits or a synthesizer can also greatly alter the sound. Sound effects commonly added to the electric guitar's "voice" are made by modifiers like stereo chorus, octavers, distortion units and filters such as a "wah-wah." Digital and software-based effects add even more color to the sound, creating limitless options. The next development appears to be the digital guitar, first introduced by Gibson in 2002. The new instrument performs analog-to-digital conversion internally, and the resulting sound is delivered via Ethernet cable. The groundbreaking technology shows how far we have come over the past 80 years, and hints at the many advancements still to come.

Les Paul, T-Bone Walker, George Van Eps and Arthur "Big Boy" Crudup were among the electric guitar's first fans. And today, the instrument can be heard virtually everywhere. In pop and rock music, the electric guitar typically plays two roles: it acts as a rhythm guitar, providing the chord sequence or "progression" and setting the beat, and it also performs as a lead guitar. Jazz musicians also use the electric guitar in multiple ways: It can be played to "comp" (accompany) jazz chord voicings or walking basslines, or "blow" an improvised solo. Most jazz guitarists still prefer the hollow body instruments, but solid body electric guitars are being used with increasing frequency.

Contemporary classical music was a little late in picking up the electric guitar, but it has learned to embrace the instrument whole-heartedly. In the 1950's, works like Karlheinz Stockhausen's Gruppen and Morton Feldman's The Possibility of a New Work for Electric Guitar showed what the modern instrument could add to the historic genre. Then, throughout the '80's and '90's, a growing number of contemporary classical composers began to write music specifically for the electric guitar. These days, the most commercially available and consumed musical genres (and especially the "harder" genres, like hard rock and heavy metal) tend to favor electric guitars over their acoustic counterparts. However, acoustic guitars are still widely used in folk, country and bluegrass music. Here at HillTop Records, we love electric and acoustic guitars, and we use one or both on nearly all of our our recordings.

Great American Songwriters: Bill Monroe

2011-04-13T13:44:00.000-07:00

We have certainly seen many prolific songwriters in America. Each has greatly influenced a particular genre, or multiple genres, in his or her own way. However, rarely do we come across a solitary songwriter so special that an entire musical genre has been attributed to their work. This is the case with Bill Monroe, the late "Father of Bluegrass." Today, nearly all Americans are familiar with bluegrass music--the soulful sound is deeply embedded in our sense of culture and Americana. But not everyone knows how the folksy style of music came to be--or even that it was named after Bill Monroe's band, the Blue Grass Boys.

The "Bluegrass State" of Kentucky (so-called for the blueish-purple buds that adorn its fields each spring) is where Bill Monroe was born in 1911. The youngest of eight children, young Bill grew up playing and singing with his other musically-inclined family members. However, in true "youngest child" fashion, Bill did not get to play the part (or instrument!) he wanted. Because his older brothers Birch and Charlie already played the fiddle and guitar, Bill was left with the less desirable mandolin. Later in life, Monroe recalled that his brothers insisted he remove four of the mandolin's eight strings so that he would not play too loudly and thus drown out their instruments. Little did they know how loudly Bill Monroe would play.

After both his parents died when he was still quite young, Bill was sent to live with his uncle Pendleton Vandiver. The sequence of events, while propelled by tragedy, proved to be serendipitous in his musical career. Young Bill would often accompany his fiddle-playing uncle while he worked gigs at local dances. These experiences greatly impacted the budding songwriter, who went on to compose the famous song "Uncle Pen" (recorded in 1950 and released on the 1972 album Bill Monroe's Uncle Pen, which also featured a number of traditional fiddle pieces inspired by Vandiver's performances.) Another early idol of Monroe's was Arnold Shultz, the influential fiddler and guitarist who first introduced the young musician to the blues.

As soon as he was old enough to do so, Bill Monroe set out to make a living on his own. By day, he worked at an oil refinery with his brothers Birch and Charlie. At night, they played at local dances and house parties with the musical group they had formed with their friend Larry Moore called "The Monroe Brothers." Even after the other two left the group, Bill and Charlie continued to play around town and live on radio stations. The Monroe Brothers, then a duo, were signed by RCA Victor in 1936. They immediately recorded their first hit single, the gospel song "What Would You Give In Exchange For Your Soul?" and another 60 tracks for Victor's Bluebird label between 1936 and 1938. They were unable to sustain their first taste of success, however, and the brothers eventually disbanded. Bill Monroe went on to form The Kentuckians in Little Rock, and then the first edition of the Blue Grass Boys in Atlanta. The other original members of the band were singer/guitarist Cleo Davis, fiddler Art Wooten, and bassist Amos Garren.

While beginning to play with the Blue Grass Boys, Monroe also made a name for himself as a solo artist. In 1939, he nailed an audition for a regular spot on the Grand Ole Opry. In fact, he impressed Opry founder George D. Hay so much with his energetic rendition of Jimmie Rodgers' "Mule Skinner Blues" that he was given the opportunity to record the song for RCA Victor in 1940. It was his first solo recording session. And while the fast tempos and instrumental virtuosity that would eventually become characteristics of the bluegrass genre were already apparent in those early sessions, Monroe was still experimenting with his individual sound--and with the sound of the Blue Grass Boys. The members of the group changed frequently; at one time, there was an accordion and after 1942, banjo player David "Stringbean" Akeman was sometimes featured on recordings.

The long-awaited "breakthrough" in developing the Blue Grass Boys' now-legendary sound did not come from a song but from a person: young banjo prodigy Earl Scruggs. In 1945, the musician joined the group--and immediately caused quite a stir with his unique three-finger picking style. Scruggs was the final piece in the puzzle, and his distinctive technique proved to be just what Monroe needed to create his signature sound. Around the same time, Monroe managed to acquire his signature instrument as well: the 1923 Gibson F5 model "Lloyd Loar," a mandolin vaguely reminiscent of the one his brothers once made him play. Bluegrass music (complete with its breakneck tempos, sophisticated vocal harmony arrangements and impressive mandolin, banjo and fiddle instrumentals) was born--even if it had yet to be officially named.

This edition of the Blue Grass Boys (comprised of Monroe, Scruggs, singer/guitarist Lester Flatt, fiddler Chubby Wise, and bassist Howard Watts) recorded 28 songs for Columbia Records. Among them were such classics as "Blue Grass Breakdown," "My Rose of Old Kentucky" and Monroe's most famous song ever (thanks to a rock cover by Elvis), "Blue Moon of Kentucky." After Scruggs and Flatt left the band in 1948, Monroe quickly regrouped and embarked on what would later be known as the "golden age" of his career. Accompanied by lead vocalist and rhythm guitarist Jimmy Martin, banjo player Rudy Lyle and fiddlers Merle "Red" Taylor, Charlie Cline, Bobby Hicks and Vassar Clements, Monroe recorded a number of bluegrass hits.

In the 1950's, Monroe and his band experienced two major setbacks: The first was in '53, when Monroe and Blue Grass Boys bassist Bessie Lee Mauldin were critically injured in a car crash. While they recovered, fellow bandmates managed to keep the group together. However, they were not so resilient in the late 1950's, when the development of the "Nashville sound" changed the world of mainstream country music. Although the Blue Grass Boys were still relevant to the Grand Ole Opry, it was soon apparent that they and the genre they had created were fighting a losing battle.

Of course, as is always the case with music and fashion, everything is bound to come back in style eventually. And in the early 1960's, bluegrass got its comeback during the "folk revival." College students and other young people began to discover Monroe and associate his style with traditional folk music rather than country. This is when the term "bluegrass" was first coined to describe the Blue Grass Boys' sound. The trend began to quickly pick up speed and, with the help of his manager Ralph Rinzler, Monroe was able to capitalize on his newly regained fame. He took his band past the limits of the American South, and was interviewed by the influential folk music magazine Sing Out!. The publication was the first to publicly call Bill Monroe the "Father of Bluegrass"--and the rest is, as they say, history.

Today, a number of years after his death, Bill Monroe is still held in great reverence by the music community. Countless songwriters--including many of our own at HillTop Records--have named him among their greatest influences, and his legacy continues to live on in many ways. In 1965, the first ever bluegrass festival was held in Roanoke Virginia. Of course, Monroe was there; he even went on to start his own (the annual Bill Monroe Bean Blossom Bluegrass Festival in southern Indiana, founded in '67 and still the world's oldest continuously running annual bluegrass festival.) He also won a long list of awards and accolades over the span of his impressive career: He was inducted into the Country Music Hall of Fame in 1970, and was an inaugural inductee into the International Bluegrass Music Hall of Honor in 1991. He received the Grammy Lifetime Achievement Award in '93, and the National Medal of Arts in '95. He won his place in the Nashville Songwriters Hall of Fame in '71, was honored as an "early influence" by the Rock and Roll Hall of Fame in '97, and was even made an honorary Kentucky colonel in 1966.

After his passing in 1996, fellow music legend Emmylou Harris said of Monroe's death: "We all knew that if he ever got to the point that he couldn't perform that he wasn't going to make it. Music was his life."

In Thanks and Tribute to HillTop Record's Songwriter, Ethel S. Davis Wink

2011-04-06T11:22:00.000-07:00

We recently received a letter from longtime HillTop Records songwriter Ethel S. Davis Wink. In it, Ms. Wink expressed her gratitude for the professional relationship she has had with us here at HillTop Records--a relationship that she has maintained since 1994! Since her first submission, Ms. Wink has had over 30 songs published by HillTop Records. Now, at the age of 95, she is finally retiring from songwriting. Consider this blog entry a tribute to her life and work.

Throughout her songwriting career, Ms. Wink has focused on bringing the glorious message of the Gospel to the world through song. Here at HillTop Records, we have been big fans of her work along the way. Particular favorites of ours include "A Chorus of Praise" (which we published in our Sing Hallelujah: A Wonderful Collection of Gospel Songs and Hymns, Second Edition, in 2008 and then again in our Christmas album, The Glory of Christmas, that same year) and "The Star of Hope" (which we published as part of our Praise and Worship singalong songbook in 2009.) These and other works by Ethel S. Davis Wink have greatly contributed to our Gospel repertoire here at HillTop Records. They beautifully demonstrate Ms. Wink's ability to convey her love and faith through poetic prose.

As is the case with most Gospel songwriters, Ethel S. Davis Wink is not motivated by monetary profit alone. Instead, her drive comes from the satisfaction of knowing that her music has touched the hearts of others, and perhaps thus inspiring or renewing faith. She is active in her local Bible study group and her other hobbies include oil painting, bridge and word games. She is also a former ballroom and line dancer. Among her musical inspirations, Ms. Wink lists Frank Sinatra, Bing Crosby, Barbra Streisand, Perry Como and Lawrence Welk. She is an award-winning poet, and her Gospel songs have been featured on HillTop Records' official website.

In addition to the 30+ songs she has had recorded by the HillTop Singers, Ms. Wink has also recently had a book of "faith-filled autobiographical poetry" published by Graphic Publishers. A Bible Banquet: Of Godly Seed for Gospel Need is a thoughtful collection of heartfelt poetry organized like a recipe book. Chapters progress as courses from "Appetizer" to "Dessert," each featuring scripture-inspired poems accompanied by related passages from the Bible. Just as a traditional recipe book is meant to sate your appetite, this one strives to satisfy your soul. There is even an "After Dinner Celebration" section of Ms. Wink's songs, and pages at the end of the book on which to write your own personal prayers.

The poem on page 30 of A Bible Banquet, which Ms. Wink directs us to in her letter above, is an especially beautiful and emotional piece written in memory of 9/11:

YESTERDAY
ISAIAH 43:18 Remember ye not the former things, rather, consider the things of God.

Yesterday, yesterday,
Oh, beautiful peace of yesterday,
Why did you go, and why did you take
Our taken for granted
Peace away?

Yesterday, yesterday,
Oh, beautiful peace of yesterday,
Gone in a breath, a breath to break
Hearts too shocked to
Even pray.

What is the lesson we must learn
If the beautiful peace of yesterday
Is that for which we'll forever yearn?
To conquer fear, we must find a way
To make tomorrow a better day.

To make tomorrow a better day
With peace on earth forever to stay
There's only one dependable way
And that's to never
Forget to pray.

A Bible Banquet was originally published in 2008, and a revised and expanded second edition was published in 2010. You can order your own copy by calling the toll-free order line of Graphic Publishers: 1 800 4-YOUR-BOOK (1-800-496-8726.)

Here at HillTop Records, we celebrate and congratulate Ethel S. Davis Wink for her wonderful contributions to Gospel music and literature. We feel blessed and honored to have been a part of her journey.

No Fools Here: The Best Music Festivals in April 2011

2011-03-30T10:31:00.000-07:00

No matter which calendar you are using, you will agree that the month of April officially means Springtime. And with this fragrant, sunny season comes a whole new crop of exciting music festivals. Take advantage of the warmer climate near you while checking out one of these fun-filled events:

The Springing the Blues Festival (4/1/2011 - 4/3/2011) celebrates the changing seasons and an American music tradition in Jacksonville Beach, Florida. Three days of open-air concerts honoring the indigenous genre are sure to liven up the city's Oceanfront SeaWalk. Past performers include Larry McCray, Earl King and Grammy Award winner Clarence "Gatemouth" Brown.

Also set to take over a unique body of water this weekend is the Tecopa Music & Arts Festival (4/1/2011 - 4/3/2011) in Tecopa, California (near Death Valley National Park and the Nevada border.) The festival combines the best of art and music against a spectacular backdrop of desert landscape. With the stars above and the therapeutic hot springs below, concert-goers and art-lovers are sure to enjoy a great time.

Tempe, Arizona is also ready to welcome Spring! If you're in the area this weekend, do not miss the Tempe Music Festival (4/1/2011 - 4/2/2011.) The event was voted "Arizona's Best Annual Music Festival" in 2008 and 2009. With three stages and a special Emerging Artists Stage, it is easy to see why. John Mayer, Blues Traveler, Kid Rock and other nationally acclaimed artists have been featured on the always impressive line-up.

If you like jazz and will be on the West Coast this weekend, consider paying a visit to Gualala, California. The Whale & Jazz Festival (4/1/2011 - 4/30/2011) promises a great time along the Mendocino Coast and throughout Senoma County.

Yet another jazz festival taking place this weekend is the 2011 Yuma Spring Smooth Jazz Fest (4/2/2011 - 4/3/2011) in Yuma, Arizona. The all-day music festival is sure to offer fun for the whole family at the West Wetlands Park.

Jazz is not only loved on the U.S. Continent. In Hawaii, the genre is also being celebrated. This weekend, the Kona Jazz Festival (4/2/2011) is welcoming April in Kailua-Kona, on the Big Island of Hawaii.

The following weekend, the Reno Jazz Festival (4/7/2011 - 4/9/2011) comes to Reno, Nevada and the Gulf Coast Rhythm & Rib Fest (4/8/2011 - 4/10/2011) brings music and food to Palmetto, Florida. Then, a week later, what Rolling Stone dubbed "the best American rock festival" and England's NME called "probably the best festival in the world!" is set to return to Indio, California. The Coachella Valley Music & Arts Festival (4/15/2011 - 4/17/2011) expects to once again draw more than 55,000 fans to the Empire Polo Grounds on the West Coast desert with its all-star line-up.

Another world-famous event that takes place each April is the New Orleans Jazz and Heritage Festival (4/29/2011 - 5/8/2011) in New Orleans, Louisiana. Each year, the beloved tradition draws a larger crowd of music-lovers from around the country. The blow-out extravaganza includes everything from jazz and gospel to Afro-Caribbean folk performed live on nearly a dozen stages.

Other exciting music festivals worth checking out this month include:

- the Tampa Bay Blues Festival (4/8/2011 - 4/10/2011) in St. Petersburg, Florida

- the 5th Annual Ozark Crawdad & Music Festival (4/9/2011) in Ozark, Alabama

- the Glendale Jazz and Blues Festival (4/9/2011 - 4/10/2011) in Glendale, Arizona

- the Old Settlers Music Festival (4/14/2011 - 4/17/2011) in Driftwood, Texas

- the Seabreeze Jazz Festival (4/14/2011 - 4/17/2011) in Destin, Florida

- the Austin Reggae Festival (4/15/2011 - 4/17/2011) in Austin, Texas

- the Bethel Woods Music Festival (4/15/2011 - 11/15/2011) in Bethel, New York

- the Natchitoches Jazz and R&B Festival (4/15/2011 - 4/16/2011) in Natchitoches, Louisiana

- the New England Folk Festival (4/15/2011 - 4/17/2011) in Mansfield, Massachusetts

- the Calvin Jones BIG BAND Jazz Festival (4/25/2011) in Washington, DC

- the Norman Music Festival (4/28/2011 - 4/30/2011) in Norman, Oklahoma

- the Denton Arts & Jazz Festival (4/29/2011 - 5/1/2011) in Denton, Texas

- the Beale Street Music Festival (4/29/2011 - 5/1/2011) in Memphis, Tennessee

- Rock the Zoo (4/29/2011) in Phoenix, Arizona

- the Ventura Music Festival (4/29/2011 - 5/7/2011) in Ventura, California

- the BluesMasters Music Festival (4/30/2011) in Kissimmee, Florida

- the Brimstock Music Festival (4/30/2011) in Moss, Tennessee

- the Las Vegas City of Lights Jazz and R&B Festival (4/30/2011 - 5/1/2011) in Las Vegas, Nevada

Our HillTop Records songwriters might also be pleased to know that along with the above mentioned music festivals, April is host to a couple of important festivals designed just for songwriters! First of all, we've got the Key West Songwriters Festival (4/27/2011 - 5/1/2011) coming up in Key West, Florida. The gigantic event welcomes all songwriters and supporters of original music to the best bars, beaches and live venues in Keys. At the same time, the I Create Music Expo (4/28/2011 - 4/30/2011) will be taking place in Los Angeles, California. As the only national conference dedicated to songwriting and composing, it is a must-attend event for songwriters. For information on these and other festivals, be sure to visit Festivals.com--and, of course, check back regularly at our HillTop Records blog!

Great Songwriters: Leonard Cohen

2011-03-24T07:54:00.000-07:00

Once in a while, we'll feature a songwriter in our HillTop Records "Great American Songwriters" series who is not actually from the United States--but whose music has left a profound impact on our country's collective culture. Just as Elton John and Bernie Taupin conquered the American music charts with their English-bred lyrics, or as Israel "Cachao" López introduced us to Cuba's passionate Mambo, Leonard Cohen has added a unique (and international) element to American music. Cohen was born in Montreal in 1934, and his lengthy songwriting career has since spanned over five decades. During a speech given at Cohen's induction into the American Rock and Roll Hall of Fame in 2008, Lou Reed named him among the "highest and most influential echelon of songwriters." And even now, Cohen continues to tour internationally and record albums. We know that his work--and his work ethic--is an inspiration to many of our HillTop songwriters.

From the beginning, Leonard Cohen appeared destined for a life in the arts. He studied with poet Irving Layton throughout high school, and learned of the healing power words can provide during difficult times--like the passing of his father, when young Leonard was only nine. His father's will provided him with a modest trust income that allowed Cohen to pursue his passions from a young age without having to struggle to pay his rent. He spent his formative years writing poetry, learning to play the guitar, and performing with the country-folk band he created and called the Buckskin Boys. While still studying the likes of William Butler Yeats and Henry Miller in college, Leonard Cohen published his first book of poetry. It was titled Let Us Compare Mythologies, and he was just 22 years old.

Although he tried his hand at several other professions (and even completed a term at his university's law school), Leonard Cohen found himself drawn back time and time again to writing. He spent much of the 1960's publishing works of poetry and prose--and living, in true writer fashion, as a recluse. He spent a stint on the remote Greek island of Hydra and, later in life, lived several years in a Zen Buddhist monastery. Themes of religion have always been prevalent in Cohen's writing; in fact, it was his 1984 Book of Mercy (a collection of 50 "contemporary psalms" influenced by the Bible, Torah, and Zen-Buddhist writings) that won him a Canadian Author's Association Literary Award for Poetry.

In stark contrast to his solitary poet's life, Leonard Cohen also spent time as a fringe figure in Andy Warhol's "Factory" crowd. After moving to the United States in 1967, Cohen enjoyed almost immediate success as a folk music singer-songwriter. With that distinction came a certain level of fame--especially after "Suzanne" became a major hit for Judy Collins. The single was the first track on Songs of Leonard Cohen, the freshman album that launched the poet's songwriting career. Several albums followed, each reaching a moderate level of success, and then Cohen went on tour for the first time in 1970. In 1971, his songs were used in the soundtrack for Robert Altman's McCabe & Mrs. Miller. This marked a turning point--one that broadened the scope of Leonard Cohen's literary influence. However, even as his audience seemed to grow daily, Cohen still strove to experiment and evolve as an artist. He collaborated with Phil Spector (the inventor of the unique "wall of sound" technique) on Death of a Ladies' Man (1977) and then two years later, he returned to his original style of acoustic folk--but added to it jazz, Oriental and Mediterranean influences.

Recent Songs (1979) was the first of Cohen's albums that he co-produced--and from that project onward, he continued to reserve the final say over each album's sound. In 2001, Cohen declared Recent Songs (which included performances by Austin-based jazz-fusion band Passenger as well as unusual instruments like the oud, mandolin and Gypsy violin) to be his favorite record. However, many might say that at that time, Cohen was just beginning to hit his stride--and his greatest hit ever was still a few years down the road.

In the early 1980's, Cohen continued to write poetry while also focusing on a number of other projects. He co-wrote the rock musical film Night Magic with Lewis Furey, and released Various Positions in late 1984. The album is forever famous for two things: It included "Dance Me to the End of Love," which was promoted by Cohen's first video clip (directed by French photographer Dominique Issermann.) And it included "Hallelujah," which to this day is Cohen's best known (and most covered) song. Perhaps due to political implications surrounding some overseas concerts, the United States refused to release the album at that time. However, 1987's Famous Blue Raincoat helped to restore his reputation stateside. The following year, I'm Your Man marked another drastic change for Cohen; he began to heavily incorporate synthesizers, and his lyrics focused almost entirely on social commentary and dark humor.

The next generation of listeners were effectively introduced to Cohen by the movie soundtracks for Pump Up the Volume (1990), Exotica and Natural Born Killers (both in '94.) Many young people appeared to identify with his sharp criticisms of political and social issues--and especially with those pertaining to the U.S. In his song "Democracy," Cohen famously says of America: "I love the country but I can't stand the scene." Further, he criticizes the American public's lack of interest in politics and addiction to television: "I'm neither left or right/I'm just staying home tonight/getting lost in that hopeless little screen."

In 2001, after enjoying his five-year hiatus (which he spent in the aforementioned monastery), Cohen returned once again to songwriting. Since then, he has been working steadily--writing music and poetry, and touring around the world with his band. With each album, Cohen continues to address the same themes: love, sex, war, religion, depression, and music itself. Instead of becoming redundant, this loyalty to certain universal topics is what helps Cohen fans relate to his body of work as a whole. Instead of loving one or two of his songs and ignoring the rest, we are able to take his entire catalog and see it for what it is: a true collection, tied together by a single point of view. Like the chapters of his novels, the stanzas of his poems.

Over the many years, Cohen's music has won him countless awards and great amounts of international acclaim. He is a Companion of the Order of Canada; an inductee of the Canadian Songwriters Hall of Fame, the Canadian Music Hall, and the Songwriters Hall of Fame; and a recipient of the prestigious Porin Award in Croatia, the Meteor Music Award in Ireland, the Polaris Music Prize, and a Grammy Lifetime Achievement Award here in the United States. Over 2,000 renditions of his songs have been recorded, and he is currently working on a new album--at the age of 76. Despite his colossal success, however, Leonard Cohen manages to hold onto his dry, self-deprecating sense of humor. In a 1998 interview, he likened his writing process to "...a bear stumbling into a beehive or a honey cache: I'm stumbling right into it and getting stuck, and it's delicious and it's horrible and I'm in it and it's not very graceful and it's very awkward and it's very painful and yet there's something inevitable about it." While this comical description may ring true, we at HillTop Records believe that the results are worth the effort.

What's Happening In Music In: Alabama's "Quad Cities"

2011-03-16T10:58:00.000-07:00

If you're not in the music industry, you may have never heard of Muscle Shoals. However, the quaint Alabama city is actually considered to be a major destination among many great songwriters (including some of our very own HillTop Records songwriters.) This is because the municipality is one of the state's "Quad Cities," the others being Florence, Sheffield and Tuscumbia. Together, the four cities form an exciting area known for its massive contributions to the American music scene. Muscle Shoals, in particular, is home to an impressive collection of recording studios. While they may not be as world-renowned as they once were, the landmarks still attract many of the country's best musicians--and with good reason.

Since the 1960's, places like FAME Studios and the Muscle Shoals Sound Studio have brought the likes of Aretha Franklin, Bob Dylan, The Rolling Stones and Paul Simon to "The Shoals." They and countless others have sought refuge in the area, which still today retains its small town charm and close-knit culture. Alabama's "southern hospitality" is obvious here, as is the Quad Cities' deep love of American music. A far cry from large entertainment hubs like New York City and Los Angeles, Muscle Shoals and its neighbors continue to inspire fresh creativity. It may be one of the the world's most unassuming "music capitals." However, the surprising fact remains that it is a music capital.

While the music created in the area is often referred to as the "Muscle Shoals Sound," that term actually implies origins in any of the four Quad Cities. Typically, songs written and recorded in the area can be identified by their unique combination of soul/gospel, country and rock influences. This emphasis on fusion dates back to the 1960's, when the Quad Cities first became a major center for music and innovation. During the Civil Rights movement, the Muscle Shoals area was known to be a place where white and black artists commonly worked side by side--an unusual practice, given the racial tension found elsewhere in the American South during that time. Historically, the cross-pollination of musical genres began when black artists (like, for example, James Carr and Arthur Alexander) drew upon white country music styles in their work. At the same time, white artists in the area were being influenced by blues/gospel music--and a true melting pot was born. Years later, Sam Phillips (founder of Sun Records, which recorded albums for Jerry Lee Lewis, Johnny Cash and Elvis Presley) mentioned in his autobiography that the bi-racial music of Muscle Shoals was a main source of inspiration for him. Rolling Stone editor David Fricke chose "I'll Take You There" by The Staple Singers as his pick for the single recording that best "epitomize[s] and encapsulate[s] the famed Muscle Shoals Sound."

Of course, Muscle Shoals is not the only one of the Quad Cities to make an individual name for itself. Florence, its sister city, is frequently referred to as "The Birthplace of the Blues"--perhaps because it was the birthplace of W.C. Handy, "Father of the Blues." Every year since 1982, the area has hosted the W.C. Handy Music Festival to highlight the best of local blues, jazz, country, gospel, rock and R&B music. In particular, large crowds gather to hear the stylings of the "Festival All-Stars," or the "W.C. Handy Jazz All-Stars." The lauded group comprises celebrated musicians from all parts of the United States. The next festival is set to take place this coming July, from the 23rd to the 31st. Also in Florence (aptly named after the art-filled capital of Tuscany) are the W.C. Handy Home and Museum and the site of the annual Sam Phillips Music Celebration.

In Sheffield, you will find the current home of the Muscle Shoals Sound Studio. The now-legendary recording studio was founded by The Swampers (made immortal by a mention in Lynyrd Skynyrd's "Sweet Home Alabama") when they left FAME to create their own studio. The Muscle Shoals Sound Rhythm Section, which is what they eventually became, was the first rhythm section to own its own studio. The place is, to this day, listed on The National Register of Historic Places--and it is one of the most visited attractions in the Quad Cities. You can even book a guided tour of the property, which has been restored to its 1970's state. Meanwhile, Tuscumbia is home to another beloved landmark: the Alabama Music Hall of Fame. Inductees include Nat King Cole, the Temptations, Tammy Wynette and Lionel Richie.

Although the Muscles Shoals area has receded somewhat from its 1960's/70's status as the "Hit Recording Capital of the World," (as the sign near the airport once read), it is currently experiencing a comeback. At the beginning of 2010, Muscle Shoals was officially added to the Mississippi Blues Trail. Also last year, the area (in particular, the Muscle Shoals Sound Studio) recorded two Grammy-nominated albums. They were "Infinite Arms" by Band Of Horses and "Brothers" by The Black Keys; the latter earned the #2 spot on Rolling Stone's list of the "Best Albums of 2010." Local artists who are currently working to bring the Quad Cities' music scene back to its former glory include the Drive-By Truckers, State Line Mob and Jason Isbell.

Today, the music scene of Muscle Shoals is alive and well. However, it might not be exactly what you're used to. Another interesting historical fact about the area is that up until a few years ago, it was dry (ie. no alcohol was allowed.) This was one reason why managers liked to send musicians to the area--so that they would actually work, and not become distracted by the nightlife! While the cultural climate has changed, you still won't find as many bars with live music as you would in other major music centers. However, that does not mean that they don't exist. Try the Sundance Saloon, PJ's or the Sidelines Sports Deli (where original members of The Swampers still play) for a taste of the local music scene. Bayou Blue is favored by those who love acoustic country and rock, Wilson Park hosts a variety of genres, and FIZZ is famous for its weekly songwriters showcase.

Online resources for information on the music and culture of the Quad Cities are pretty easy to find. They range from professional e-Zines like The Shoals Beat to all-inclusive websites like ShoalsCulture.com to personal blogs (Florence Main Street is a good one.) If you are looking for ways to experience the vibrant and historic music scene of Muscle Shoals, they will get you started. And here at HillTop Records, we will continue to do our best to keep you updated on news and events within the American music industry.

Great American Songwriters: Jimmy Buffett

2011-03-09T14:00:00.000-08:00

As the weather continues to warm up through this month of March, we at HillTop Records cannot help but think of summertime. With the thought of summertime comes the thought of summertime music--and how can you think of that without thinking of Jimmy Buffett?

A staple on every poolside playlist and at every college bar, Jimmy Buffett's music is easy to identify. The songwriter's signature "island escapism" lifestyle is portrayed through catchy, upbeat tunes that tend to get stuck in even the most stubborn of heads. In fact, "Margaritavilla" and "Cheeseburger in Paradise" became so famous that the titles were adopted by two national restaurant chains (partly owned by Buffett, of course.) Along with casual American cuisine, the restaurants serve up generous portions of Jimmy Buffett's brand. The successful singer/songwriter wears many hats these days. Along with being a legend in the music industry, he is also an acclaimed author, movie producer and businessman. But how did the one-man vacation, frontman for the Coral Reefer Band and leader of the "Parrotheads," get his start? Well, it will probably come as no surprise to learn that he grew up on the beach!

Jimmy Buffet spent much of his childhood in the coastal town of Mobile, Alabama as well as other parts of the state. After he graduated from college in Mississippi, Buffet moved to Nashville to work as a correspondent for Billboard magazine--and that is when he first entered the music industry. He had learned to play the guitar while in college, and he began his musical career as a country artist. He recorded his first album, Down to Earth, in 1970 but he spent most of the late '60's performing in the streets of Nashville and New Orleans for tourists. Fellow country music singer/songwriter Jerry Jeff Walker took Buffett with him to Key West to perform there, not knowing what a profound impact the place would have on him. There was no turning back; Jimmy Buffett had found his new home.

Immediately upon making the permanent move to Key West, Jimmy Buffett began to tweak his personal musical style. He easily adopted the laid-back beach-bum persona that he would later become famous for, and the new identity greatly effected his songwriting. Buffett began to combine elements of folk music, country and pop with coastal sounds and tropical lyrical themes. Sometimes called "gulf and western," the unique fusion is still Jimmy Buffett's calling card. Even now, he routinely travels to the Caribbean island of Saint Barts to draw new inspiration for his music and books.

Audiences were responding well to Jimmy Buffett's distinct sound--and the personality that went along with it. In 1973, he released A White Sport Coat and a Pink Crustacean (best known for the hit novelty single "Why Don't We Get Drunk (and Screw)," and for making the first references to the Coral Reefer Band.) Soon after, Buffett released two more albums: Living & Dying in 3/4 Time, which contained "Come Monday" (his first Top 40 hit) and A1A. However, what really made the artist's career skyrocket was the release of Changes in Latitudes, Changes in Attitudes in 1977. This was the album that gave us the breakthrough single "Margaritaville" and what catapulted Jimmy Buffett into the realm of national fame. Die-hard "Parrotheads" (Jimmy Buffett fans) might also tell you that the album marked the beginning of the end of his "Key West Albums." Once "Margaritaville" hit the public ear, Buffett immediately became a major concert draw. Throughout the 1980's, he made far more money playing live shows than he did selling albums--perhaps a tribute to his stage presence and infectious charm.

A keen businessman through-and-through, Jimmy Buffett obviously saw the potential in branding himself. He opened a "Margaritaville" retail store in Key West in 1985; then, two years later came the first Margaritaville Cafe. Although the singer/songwriter is clearly an artist at heart, he has also always been very good at seeing things from a marketing perspective. While once performing live at the Houston Livestock Show and Rodeo charity show, he briefly changed the name of his back-up band from the "Coral Reefers" to the "Coral Reef Band" to allay the company's fears that audiences would assume a drug reference. Other family-friendly contributions Buffett made include a Christmas album (Christmas Island) and Parakeets, a collection of his more popular songs sung by children and containing more "appropriate" lyrics (ie. "a cold root beer" instead of "a cold draft beer.")

Buffett rode the "Margaritaville" wave for decades, using it as a jumping-off point to expand his brand. He spent the following years touring and focusing on other interests, and he didn't really make any major headlines until the next century. In August of 2000, he performed on the White House lawn for then President Bill Clinton. Three years later, he partnered with Alan Jackson to write and sing "It's Five O'Clock Somewhere." The single rose to the number 1 spot on the country charts, and it even won the 2003 Country Music Association Award for Vocal Event of the Year. The award was the very first in Buffett's 30-year career. His next album, 2004's License to Chill, marked another first for Jimmy Buffett: It was the first time one of his albums topped the U.S. pop chart.

To date, Jimmy Buffett has released over 30 albums. Of these, 8 have been Gold Albums and 9 have reached the Platinum or Multi-Platinum level. The 2007 single "Hey Good Lookin" (another joint venture with Alan Jackson and George Strait) earned him another CMA Event of the Year nomination. However, despite this obvious success, Jimmy Buffett has never solely focused on producing albums. Instead, the songwriter seems to be at his best when he is combining two or more of his passions. From film and TV to charity work, the iconic songwriter remains deeply rooted in multiple industries. And what makes this truly impressive is the fact that he is good at them all!

Buffett has written three #1 best sellers and is one of only eight authors to have ever reached the #1 spot on both the fiction and non-fiction New York Times Best Seller lists. This distinction places Ernest Hemingway and John Steinbeck among his peers. Meanwhile, the "Margaritaville" brand has only gotten better. The name can now be found on a record label, a casino, tequila, footwear, a branch of the Anheuser-Busch brewing company (check the label of Land Shark Lager!) and even the new home stadium for the Miami Dolphins.

Never one to miss out on a business opportunity, Buffett recently entered another part of the music industry in 2005. That summer, he teamed up with Sirius satellite radio to introduce channel 31: Radio Margaritaville. The channel can still be heard today on Sirius XM 55; it is broadcast from the Margaritaville restaurant at Universal CityWalk in Orlando, Florida. It is also available on the WunderRadio app for the iPhone, and online at RadioMargaritaville.com.

Despite all of these successes, however, Jimmy Buffett has never stopped performing. His concerts continue to attract crowds of fans of all ages, and you will typically find the masses bedecked in themed "Parrothead" attire (ie. Aloha shirts and swim trunks.) Another thing that makes Buffett concerts stand out is their predictable setlist structure. Almost every show includes "The Big 8," the standard list of Buffett's most famous songs. Of course, the list includes the classics: "Margaritaville," "Come Monday," "Cheeseburger In Paradise," etc. Once again, the list shows Buffett's business acumen--he knows precisely what his audience wants, and he gives it to him. By staying true to his personality and capitalizing on his strengths, Jimmy Buffett has become one of the most famous musicians in America. We hope he is an inspiration to our HillTop Records songwriters.