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OREGON MUSIC photo Buko Sandin Wilson - CD “Into My World” Original Contemporary Pop/Jazz Featuring Carlton Jackson, Paul Mazzio, Jaybird Koder, Tim Bryson and special guest Doug Fraser “Sandin is a fantastic bassist/vocalist and was a pleasure to work with on his debut recording” Jimmy Haslip Yellowjackets “ A world class bassist/composer, with a great singing voice, wilson has assembled a talented cast for his inaugural CD as a leader.” Wayne Thompson Jazzscene Magazine “We were impressed with the fact that Jimmy Haslip was involved. Now we know why, Sandins music is excellent!” Ron Garrant - editor Bassics Magazine Look for the CD at all Tower, Music Millennium, & Everyday Records “Hear it on KMHD” You can also listen online at www.cdbaby.com or Sandinwilsonmusic.com “Contemporary Music for Sophisticated Ears” for booking please [email protected] Page 2 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 3 Marlon Moves to Hollywood. Marlon McClain was Portland’s first indie producer. Marlon produced projects for most of the local acts that got major label deals before moving to Los Angeles where he has thrived as a producer, writer and musician. “I’ve got the next single from En Vogue,” Says songwriter McClain. This month Marlon is back in town at Falcon studios to produce Curtis Salgado’s new album. Pictured in the studio from left, standing: Dennis Carter, Sandy Solomon. Seated: Curtis Salgado, Marlon McClain Photo Rapoport Page 2 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 3 Page 4 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 5 PRODUCTION DEALS Often these production companies have Signing of Artists In recent years, there has been an increasing a company name and logo which make them These contracts typically limit the total frequency of so-called “production deals” -- in look like a record company, and the production number of artists the production company other words, deals between record companies, company’s name and logo will appear on records may sign over the entire term of the agreement on the one hand, and production companies, next to the major label’s name and logo. This and/or for each year during the term. The more on the other hand. can sometimes give the mistaken impression established and successful the production com- There are a number of reasons for this that the production company is a stand-alone pany is, the more artists it will be entitled to development, but it is largely due to the increas- ing clout of established producers over the years, as well as the business savvy of some of those producers. Some Basic Terminology Before we get too far here, though, fi rst a word about terminology. When I use the term “production deal” below, I will be talking about record company. sign. deals between production companies and record Incidentally, in the case of production com- The contract will specify the total number companies, and not deals between producers and panies owned by major producers and artists, of albums the production company will be artists. It is important to make this distinction sometimes the deal between them and a major required to supply for each artist. The produc- tion company (and its artists) will be obligated to “Production deals provide for the major ultimately deliver that number of albums, even if the term of the production agreement expires label to pay royalties to the production before that happens. company, based on a percentage of the Most production agreements are “first look” agreements, giving the major label the retail price. The typical range is 16% to fi rst rights to a record delivered by the produc- tion company, but the major label will not be 18%, less the same packaging and other obligated to commercially release all albums delivered by the production company. For kinds of deductions that are standard.” example, the major label might reject an album here, because the latter kind of deal is also often label is different than the type of deal discussed or artist that the major label considers to lack referred to as a “production deal.” But they are in this article. Often, for example, the deal will signifi cant commercial potential. As a result, the two completely different animals. be a joint venture deal, whereby the established production agreement should allow the produc- producer or artist is setting up a joint venture tion company the right to offer any rejected art- “Production Deals”: The Basic Points with a major label. In that situation, the major ists or masters to another label. Production companies, sometimes referred label is not paying the production company a to as “imprints,” are companies which fi nd and royalty, but is instead sharing net profi ts with Royalties sign talent and produce records. Many are the production company. In short, though, joint Production deals provide for the major owned by producers that have reputations for turning out commercial hits. Others are vanity Most production agreements are ‘fi rst labels owned by successful recording artists that have been rewarded by their labels with look’ agreements, giving the major label production deals. the fi rst rights to a record delivered by the Usually the scenario with production deals is as follows: The production company signs art- production company, but the major label ists to a recording contract, and agrees to pay royalties at a specifi ed royalty percentage rate. will not be obligated to commercially The production company also signs, separately, a production agreement with the major label. release all albums delivered by the This provides for a higher royalty rate to be paid production company.” by the major label to the production company, than the royalty rate which the production com- venture deals are very different from “produc- label to pay royalties to the production com- pany label has agreed to pay to the artist. The tion deals” (as that term is usually used), and pany, based on a percentage of the retail price. production company’s profi t, then, is based on so, I’ll discuss joint venture deals separately in The typical range is 16% to 18%, less the same the difference between the royalty rate it receives a future article. packaging and other kinds of deductions that from the major label and the (lower) royalty rate are standard in most recording agreements for which it is obligated to pay its artists. Term of Agreement artists. Under the terms of the usual production A production deal will typically have an ini- deal, the production company delivers master tial term of two or three years, with the major Advances recordings to the major label, which then presses, label having options for an additional one to The major label may advance monies for distributes, markets and promotes the records three (or more) years. directly or through its subsidiaries. Continued on page 31 Page 4 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 5 anxious, slightly disoriented all the while safe in a warm and familiar place. Dreamboat Annie News Flash! This just in. Soon to be dodging the Internet download pirates is sure to be the much recently celebrated Anny Celsi. Her latest release “Little Black Dress” just jumped from # 49 to # 25 on the Roots Music Report (www.rootsm usicreport.com ) weekly chart. The Roots Music Report promotes roots, bluegrass, roots blues and roots rock artists, charting airplay on radio sta- tions around the country and around the world. Get down with your bad self and remember you heard about “Little Black Dress” here first back in the April 2003 issue. Go Your Own Way Portland Flashback Weekend Are the rumors true? Inquiring minds Los Angeles; city lights disappear want to know. Rumors fueling the Everclear like fading stars as Alaska flight 275 implosion may be fed by Art Alexakis’s solo makes it’s way North over the Pacific acoustic show scheduled for Ocean and inland cross-state. The October 17th at the Knitting Fac- low hum of the airplane lulls me into tory (www.knittingfactory.com/ a state of consciousness somewhere kfhollywood/index.cfm) in Holly- between attention and indifference. wood. It’s billed as “a night around Turbulence, as we break through the the big-time rock ‘n’ roll campfire”. clouds, the first site of the Columbia If the breakup is true, I’m sure the River in view. Touch down, PDX safe ex-band members would see it a and sound. “Bonfire of the Vanities”. Careful with those claws, kitten. Wish You Were Here I’m making this trip to catch the You Can’t Always Get What You Want sweet spot of Oregon’s fall season. The I left Los Angeles (as well as waning days of warm, clear weather the rest of the world) in a state of before the long haul through the gray struggle in the efforts to cope with dampness of winter. This trip, I’m a uncertain change. Between the California Recall Election (please, let’s leave politics to politicians and acting to actors), as well as the retalia- tion of the Music Industry, out to slap the hand that feeds it, with a wave of fresh lawsuits targeting the twelve year old girls downloading the latest Limp Bizkit release off the Internet, I feel as if we are in “duck-and-cover” mode, waiting for the dust to settle, while the big guys duke it out. man without a plan, only looking to leave a head full of Los Angeles worry behind While My Guitar Gently Weeps for a few days of Northwest bliss and the OK, enough soapbox! Now, it’s chance to catch up with family and old time for a shameless plug for new friends.

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