Musik and Film Records

Artist News

Wanna get paid your Songwriting and Airplay Royalties?

musikandfilm

June 4, 2015

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Stephen Wrench, President, Musik and Film Records, recently answered the prevailing question, ‘How does a DIY artist get paid for songwriting and airplay royalties?

I deal with a lot of artists who have spin reports and reports of airplay. I am often asked, “Where are my airplay royalties?” The song was named “My Friend”. Now, there are probably 50,000 songs worldwide named “My Friend”; how is ANY collection society going to collect royalties on this?!? I then ask them if they sent in a properly coded MP3 with their registration. In most cases, they didn’t seem to understand what I meant by asking this.

There are 3 major songwriter collection associations in the U.S.; as well as a few other companies advertised on other sites. They all tout, “we collect world royalties”. One would think it would be easy to track airplay with ISRC numbers, bar codes, and digital tracking.

If you want to get paid for airplay royalties, then you need to code it properly. Here’s how if you’re in QuickTime: right click on the mp3, then click Properties, and click on Details. From here you type in the correct registered title, album artist, album, year, and genre. When you get to publisher and composer, type in the registered writers names / publishers names and affiliation. Then, and only then, will they be able to track the release and collect your royalties.

I have numerous artists, including myself, who belong to US songwriters associations. Many of us have complained that we are not getting paid airplay royalties from the US societies that “claim” to collect airplay royalties worldwide. Proper coding may be one of the issues, here’s another possibility.

About 3 years ago I charted a top 40 hit in the UK and Europe. I waited and waited and waited for my airplay royalties. I eventually contacted my songwriter’s collection society, which I have been a member of for decades, and I was asked for the airplay information. So I provided them with spin and airplay reports; not once, not twice, but several times. Still anxiously awaiting my royalty check, I worked my way up the corporate ladder for answers as to why I was not getting paid.

I was finally verbally informed, by my collection society, that they only monitor 5% of Billboard reporting stations. I was also informed that they only monitor major releases, worldwide. I pressed on for more answers, “You mean I have provided you with spin and airplay reports and you will not collect my royalties”? I was told they would not actively seek to collect my royalties; but if they were to receive a check, it would be forwarded to me.

What kind of songwriter’s representation does the US have? How is it possible, in this digital age, to ONLY monitor a 5% sampling of Billboard reporting stations and NOTHING overseas? Extremely perplexed, I sought answers about world publishing collection societies and what societies ACTUALLY collected royalties for the average songwriter.

What I found, was that songwriters can collect their airplay royalties even if minuscule, but not with the US societies. With a US society, you will only get your royalties if you are with a major label and spun on billboard reporting stations. I recommend joining PRS, in the UK, they are serious about a writers royalties and not in bed with major labels.

Contact promotions@musikandfilm.com for more information.

By: Stephen Wrench

Musik and Film Records, President

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Artist News

5 Ways to Employ YouTube for Freelance Musicians

musikandfilm

June 1, 2015

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Musicians these days are always looking for ways to improve themselves, market themselves, and inspire themselves. With the advent of YouTube, that goal has become immensely more achievable right from home, for no charge at all. There are countless ways to exploit this service to your advantage, but Dylan Welsh of the online blog SonicBids.com has clearly spelled out 5 ways to utilize YouTube as a freelance musician. These don’t just apply to freelance artists however, feel free to take advantage of these methods with your band as well. The article is definitely worth reading.

“I’ve seen a lot of active session musicians using video content on YouTube as a way to drive traffic to their websites and attract potential clients. This, of course, also strengthens your web presence and makes your brand even stronger. Here’s some of the smartest content that I’ve found active session musicians using for their YouTube channels.”- Snippet of full Article by Dylan Welsh

For full article go here: http://blog.sonicbids.com/5-smart-ways-to-use-youtube-as-a-freelance-musician

Artist News

Ever Wondered why youre getting paid CRAP for your streaming??

musikandfilm

June 1, 2015

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This is probably why…

Have you ever felt like you weren’t being paid appropriately for your music streaming? Well it turns out you’re not alone on that one! Deals between streaming services and music distribution companies have long been affecting artists, and not for the better it seems. Distributors never asked the artists themselves for permission to stream their content, nor have they spoken with them about proper compensation. THIS is why artists aren’t making any moneystreaming, because they’re being cut out of the negotiation process. Online news blog “The Verge” recently got its hands on the 42 page contract between Spotify and Sony Music that was signed back in 2011, spelling out the details between the streaming service and the record label giant’s mega deal. Apparently Spotify pays Sony MASSIVE advances of money, to the tune of $42.5 million, to have streaming access to the vast music catalogue that Sony possesses.

“In section 4(a), Spotify agrees to pay a $25 million advance for the two years of the contract: $9 million the first year and $16 million the second, with a $17.5 million advance for the optional third year to Sony Music. The contract stipulates that the advance must be paid in installments every three months, but Spotify can recoup this money if it earns over that amount in the corresponding contract year.

But what the contract doesn’t stipulate is what Sony Music can and will do with the advance money. Does it go into a pot to be divided between Sony Music’s artists, or does the label keep it to itself? According to a music industry source, labels routinely keep advances for themselves.” – The Verge

The million dollar question seems to be…why aren’t the artists getting a piece of this?? Artists are paid fractions on the penny per stream on these services, making practically NOTHING for their music play, which is in turn making it hard for artists everywhere to make a living making music these days. The problem is not exactly an unknown issue either, you may have already heard about Taylor Swift pulling her entire music catalogue off of Spotify. The platinum artist wasn’t happy with the outcome of her streaming profits, and decided to do something about it!

Musik and Film has THOUSANDS of songs streaming from their catalogue, and has yet to see ANYTHING from our digital distributors in the form of advances, has anyone else? We’d love to hear your thoughts!

Here is the full article so you can check it out for yourself:

http://www.theverge.com/2015/5/19/8621581/sony-music-spotify-contract

Artist News

Ron Louis Smith Carries on the Tradition of KC and the Sunshine Band Releases Spank with Musik Radio Promotions

Rhonda

March 2, 2015

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Ron Louis Smith 2nd, son of Ron Sr. original member of KC and the Sunshine Band, has released Spank to worldwide radio promotion. Ron Louis Smith 2nd is the son of ‘Sunshine Royalty. Ronald Louis Sr. (one of the original members of ‘KC and the Sunshine Band’) was the heart and soul of the band’s legendary horn section and an acclaimed songwriter in his own right, writing and co-producing (with Finch and Casey) the International disco hit sensation, ‘ SPANK.’ The song has now been released to worlwide radio with Musik Radio Promotions.

Carrying on in the tradition of his father (and his uncle, Jerome Smith – also a founding member of KC and the Sunshine Band), Ron Louis Smith 2nd has brought that legendary sound and ‘feel good Miami vibes’ to the 21st Century party scene.
As the ‘heir to the throne,’ Smith (the ‘Prince of Sunshine’) is releasing his first album. This project firmly ensconces Smith as a major player in the International club music scene, with groovalicious tracks like, ‘Party Music’ and ‘Can’t Let Go,’ to the heart pounding, soul stirring ‘Don’t Hold Back (All your loving) – and a homage to his father and uncle with the electrifying ‘Spank’ and ‘Come On, Let’s House.’
With tracks flavored with Finch’s signature groove as the backbone to Smith’s insight and genius, this album takes you on an eclectic, audible journey, giving the listener flavors of Caribbean, Junkanoo, Disco and Electric Funk – with Smith’s danceable infusions firmly present in every song.

Artist News

Australian artist, Rida, Top of the Charts Promotions with Musik Radio

Rhonda

March 2, 2015

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Rida’s hit, “Be With Me” has been topping the charts since the worldwide radio campaign began by Musik Radio Promotions weeks ago.

Rida does it all: R&B, Dance, Rock, College, Urban –his songs are loved by so many fans!

He writes all his own songs – lyrics and melodies, mixes them, and usually does most of his own music, and directs all his own video clips (sometimes collaborating with assistant producers).

There will be much more to come from Rida!

Artist News

5 Industry Moguls talk about their experiences

Rhonda

February 13, 2014

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Joe Smith, past president of Warner Bros. Elektra/Asylum, and Capitol Records, says, “with today’s rules, I couldn’t sign the Grateful Dead”.

Musik & Film Records changed the rules to create a new model for indie artists.

Five industry mogels provide a powerful insight into the music industry in the article below, courtesy of Hollywood Reporter. Great to know Musik and Film is on the same page!

WATCH THE VIDEO HERE!

It hasn’t been a pretty picture for the record companies the past 15 years. In that time, the U.S. music business has shrunk in half, from revenue of $14.6 billion in 1999 to $7.1 billion in 2012, and that’s been reflected in job losses, consolidation of seven music giants into three and a general feeling of malaise that says the industry’s glory days are an irretrievable thing of the past. Indeed, the landscape is littered with former executives bemoaning the loss of expense accounts and cocaine- and hooker-fueled days, but not these spry veterans, who have survived this brave new digital world to tell their tales.

Jerry Greenberg, Atlantic Records president (1974-80), MJJ Music president/COO (1993-2000)
THEN: Signed ABBA; connected producer Mutt Lange with AC/DC (the result: Highway to Hell); broke Led Zeppelin on U.S. radio with “Whole Lotta Love”; signed Chic, Sister Sledge and The Trammps.
NOW: Founder of Ibiza-based label Pacific Electronic Music; spearheading documentary about his career.
NEXT: Involved with the Polyphony Foundation, a music school in Nazareth where kids from both Israel and Palestine learn together. “I love music and working with artists. I can still tell a hit when I hear it. I want to find the next Lady Gaga and Justin Timberlake.”
WHAT HE MISSES: “Labels signing artists, developing them and waiting for the money to come later. Record companies don’t stick with artists as much as they did back then.”
WORDS OF WISDOM: “This is as great a time to be a small, independent label as it was in the ’60s.”

Mike Bone, Island Records president (1990-91), Mercury co-president (1991), Def American Minster of Truth (1992-94)
THEN: While a promotion exec, broke Thin Lizzy in the U.S. with the single, “Wild One.”
NOW: Graduated Loyola Marymount with an MBA in marketing and a 3.93 GPA; owns homes in Santa Monica and Encino, a condo in Atlanta and a 215-acre Georgia tree farm.
NEXT: “In five years, my daughter will be a senior in college and my son will be a freshman, so I will start divesting my real estate, and prepare to move to Hawaii with my wife.”
WHAT HE MISSES: Being part of a team and moving the ball down the field, the snap, crackle and pop of the business, the camaraderie of orchestrating the whole ensemble. “My best years were atBob Krasnow’s Elektra in the ’80s, a magical time.”
WORDS OF WISDOM: “I saved my money. I didn’t put it up my nose or get divorced three times. My vices are now my kids.”
STORY: Afrojack Signs With Island Records and Universal Music Group

Joe Smith, Warner Bros. Records president (1970-75), Elektra/Asylum (1975-82), Capitol (1987-93)
THEN: Built Warner Bros. with Mo Ostin; signed the Grateful Dead and “changed the industry perception of the record company as the home of Frank Sinatra and Dean Martin”; helped breakGarth Brooks; wrote Off the Record, a collection of more than 200 artist interviews now archived in the Library of Congress.
NOW: Lakers season ticket-holder, avid wine and art collector.
NEXT: “I hope to continue standing above ground.”
WHAT HE MISSES: That collegial feeling which disappeared when the business got corporate. “You rooted for your competition to have a hit because it meant increased retail traffic for everyone. We were never really competing with each other, we were all trying to make our own way. I also miss going to the NARM [National Association of Recording Merchandisers, since renamed the Music Business Association] convention, where I got to see everybody from around the country, where I emceed several of the award dinners and panels. I really felt at home.”
WORDS OF WISDOM: “There was room for everybody then. With today’s rules, I couldn’t sign the Grateful Dead.”

Phil Quartararo, Virgin Records president/CEO (1992-97), Warner Bros. president (1997-2002), EMI North America executive vp (2005-06)
THEN: Part of the Island Records team that broke U2; One of the founding executives of Virgin U.S.; signed Linkin Park and Josh Groban while at Warner Bros.
NOW: Managing Arturo Sandoval and Yoshiki at The Collective (the latter with veteran publishing and A&R exec Kaz Utsunomiya); consulting for artist estates and businesses that look to “use music for currency, and are willing to pay for it,” including Australian brand-sponsored e-commerce platform Guvera and sync recognition app Shazam. “I have been very fortunate to be able to take my 30-year record company experience and convert it.”
NEXT: “I’m not one to sit around moping and being resentful, waiting for the phone to ring. I’m looking at the first part of my career as the launching pad for the best part, which is right now, because I get to work with artists, brands and music. That experience we had in the major label system is valuable for companies today. There are not a lot of guys around who have run multimillion-dollar companies and are still young enough to have the energy to do something else.”
WHAT HE MISSES: Being able to activate a team of people working every day toward a common goal: to break an artist or a song, to build a career. “That was art; that was beautiful. Today’s market is not conducive to record companies as we knew them. They’re overwhelmed and under-resourced, which is a bad combination. The major labels of the past had the revenue to support the effort. [Now] there’s no money to do anything. And the thing that suffers the most is artist development. If you’re a new band, and can’t get any traction on your own, the record company won’t be able to do it for you.”
WORDS OF WISDOM: “The time for new opportunity in the music industry has never been better.”

Jeff Gold, A&M vp marketing/creative services (1981-90), Warner Bros. Records executive vp/GM (1990-98)
THEN: Helped break Bryan Adams; won a Grammy for art direction for Suzanne Vega’s third album.
NOW: Founder of Recordmecca, collecting and selling rare memorabilia; author of 101 Essential Rock Records: The Golden Age of Vinyl; consulting for Rock and Roll Hall of Fame and Experience Music Project.
NEXT: “I am going to do this for as long as I enjoy doing it. I wake up every morning and can’t wait to see who’s emailed me and from where, what I’ve sold. I engage in this fantastic treasure hunt where I get to meet super-interesting people, buy stuff from them they’ve had for a long time, research and contextualize it.”
WHAT HE MISSES: The expense account.
WORDS OF WISDOM: “The record business missed the boat on the Internet. It’s a real lack of vision. People aren’t doing the Steve Jobs leading thing in the record business.”.

For a consultation regarding how Musik and Film Records can help you, free of obligation, contact us today.

Artist News

Merrin, NZ’s Sultry Band Becoming International Stars with International Airplay!

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January 15, 2014

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Artist News

Musik and Film Records Announce Management Division

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January 3, 2014

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Stephen Wrench, President, Musik and Film Records, announces the opening of a management division. Wrench, who has been involved in the music industry in most every capacity and once an executive with RCA records, understands the needs of the indie artist in the industry climate of today.

The Musik and Film Management Division is a platform for serious independent artists to make their mark throughout the world. With 40+ years in the industry, the Musik and Film team has the track record and the contacts to help you record and produce your music, get you worldwide airplay and promotion and tour the world.

A few of the artists the Musik and Film team has worked with include:

Ozzy Osbourne, Missing Persons, Hank Williams Jr., Lynyrd Skynryd, (Marilyn Manson)John 5 , Travis Tritt , Ian Ashbury and the Cult , Tommy Tutone , Axl Rose , Slash, Nikki Sixx (motley crue)

Musik and Film acts as a multi-faceted partner to its artists, identifying their creative and conceptual goals and cultivating the artist’s vision and raw talent to make them a viable musical entity.

FULL SERVICE ARTIST MANAGEMENT AND CAREER DEVELOPMENT WILL INCLUDE:

BOOKING AND TOURS
PUBLICITY
RADIO PROMOTION
RADIO TRACKING
CONSULTATION
FULL ACCESS TO OUR RECORDING STUDIOS AND PRODUCERS
A RECORD LABEL WITH WORLDWIDE DISTRIBUTION
MANAGEMENT OF ALL WEBSITES AND SOCIAL MEDIA

TO APPLY: Send the links to current music along with a description of goals.

Contact email: promotions@musikandfilm.com

If accepted, the artist will receive an evaluation and a personalized plan of the steps involved to achieve your goals.

Artist News Press Release

Testimonial of the week!

musikandfilm

September 15, 2013

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Rhett May on working with Musik and Film Production Team:

“I feel I built a rapport with Stephen from day one….very easy going and likeable guy…and nothing was too hard…we shared some stories that are insane and I guess we come from a similar background in music…a similar era…the classic rock ’When the van is rockin’ don’t come knockin’ era…and the influences very much gel.

Their interpretations and ideas did surprise me at times…but I listened and absorbed and came away with a sense of excitement that Stephen and Terry….. that someone like Musik and Film were actually interested enough to take the time in listening to my songs, tearing them apart…positively…and then helping me put them back together in ways that I hadn’t considered.

I think that they’ve taught me a number of things…and I’m grateful …I’m always learning and will certainly incorporate some of their fundamentals moving forward.

I love the rawness and the naturalness they’ve brought out particularly on the second track “Insatiable”. It’s emotive and raw and passionate…”forget trying to make your voice sound good…just let your emotions run”…so said Stephen…..let it blend with the exciting acoustic guitars.” Rhett May

Artist News

Rhett May Opens UP About Life & Musik with 2J Rae

Rhonda

July 10, 2013

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The multi-cultural singer/songwriter/musician from Down Under is back with an exciting new EP titled ‘Insatiable’. Recently signed to Musik and Film Records & Musik Radio Promotions, Rhett May looks to make a huge SPLASH with his brand new release. The EP features five fantastic tracks and the first single to be released to radio stations worldwide is “Cocktails and Cannabis”. Turns out that no drinking OR smoking was involved during the making of this song as music is the only high for Rhett. Actually, May hopes to bring back some of the “passion and excitement” that he feels is lost in today’s music and I say good riddance to substance-free tunes & unoriginal acts and material! With decades of experience under his belt and one heck of a musical palette, Rhett May is sure gonna give it one hell of a try! Go Rhett…GO!

2J Rae: So we go back to your first EP ‘Calcutta Boy’ in 2009 after a 30-year absence from music, then jump ahead four years with the release of ‘Cute Calcutta Boy’ AND now a new EP called ‘Insatiable’ with “Cocktails and Cannabis” being the first radio release. First I have to ask Rhett what made you wait 30 years to get back in the game and record ‘Calcutta Boy’? Next, what are the major differences between ‘Calcutta Boy’ AND ‘Cute Calcutta Boy’ and why is one “cute” and one not? Finally, stepping into the present time you now have a brand new recording titled ‘Insatiable’ that features the track “Cocktails and Cannabis” with no signs of any “Calcutta Boys” or “Cute Calcutta Boys” on the set. Was that the intention all along and was the transition from the previous two releases to the current five-track EP a difficult or easy one?

Rhett May:

Since the band Lucifer split in 1979 I moved into corporate life to make a living and support my family…but the music was always bubbling away subterraneous within my soul and psyche.

It got to the point where I couldn’t see anyone perform live without feeling crazy low!! Suppressing my love for music, my creativity and performing live was slowly driving me insane…without me realizing it.

I flew over for a party in Perth…Tom our guitarist had a milestone birthday…and unknown to me, we were the band for the night….after nearly 30 years….the buzz returned and the door to the dungeon was unlocked…the beast was unleashed and now all hell’s broken loose…I can’t stop writing and composing and recording in my basement studio at home….till all hours of the morning.

The EP ‘Calcutta Boy’ was simply the name of my first EP…people referred to me as the boy from Calcutta…so I called it ‘Calcutta Boy’.

“Cute Calcutta Boy” was a song I wrote later on….about my memories and my early days on the streets of Calcutta….the nightclubs…restaurants…and the girls that were so delicious….the hormonal days of my youth !!

“Cute Calcutta Boy”…although released as a single in January this year, is a song off another EP (‘Fast Cars and Sitars’) that’s an ongoing project, which I’m doing with my childhood buddy ‘Jimbo’ Payne in Perth….we’ve played together since we were 15 years old…so he understands exactly what I’m doing…to the point that it’s quite scary !!

It’s been a slow process with this one…four songs done….another two to go…it’s got more of an Indian influence to it….but more about this at another space in time.

The transition to ‘Insatiable’ wasn’t hard at all…the influence of Stephen and Terry from Musik and Film gave the five songs a raw and exciting edge….I’d been out of the mainstream for so long…I asked them to choose the five songs they felt would help get me back into the sound of today…whatever that was !!

Being so close to my own writing, I felt that someone with the knowledge, feel and expertise of what was happening in the current music scene could make a difference and compliment what I was creating.

I had a list of probably 40 or 50 songs for Stephen and Terry to choose from…

Four of the five songs chosen, I’d written since my ‘rebirth’ in 2008…the fifth “Jenny” was the very first song I’d written back in my Beatle influenced days of 1969…it was during the days of Prodigy that I got together with our guitarist Michael Bradford in Prodigy… put it together in 1972 and started playing it on stage.

I happened to mention it to Stephen…as an aside….and when they heard it they went “WOW”….we love its simplicity….we wanna do it.”

2J Rae: With your latest installment you were able to get involved with the fine people over at Musik & Film and Musik Radio Promotions where the top-notch production team produced & co-wrote ‘Insatiable’ and played on the EP as well. So I have to ask Rhett what was it like working with such distinguished professionals in the music business? Having platinum producers on your side I’m sure affected the outcome of the EP in a BIG way and so I’d be curious to know what you personally thought of Musik and Film’s involvement & take on ‘Insatiable’? What was it like hearing the final result once all five songs on the EP were recorded and set in stone?

Rhett May:

I feel I built a rapport with Stephen from day one….very easy going and likeable guy…and nothing was too hard…we shared some stories that are insane and I guess we come from a similar background in music…a similar era…the classic rock ’When the van is rockin’ don’t come knockin’ era…and the influences very much gel.

Their interpretations and ideas did surprise me at times…but I listened and absorbed and came away with a sense of excitement that Stephen and Terry….. that someone like Musik and Film were actually interested enough to take the time in listening to my songs, tearing them apart…positively…and then helping me put them back together in ways that I hadn’t considered.

I think that they’ve taught me a number of things…and I’m grateful …I’m always learning and will certainly incorporate some of their fundamentals moving forward.

I love the rawness and the naturalness they’ve brought out particularly on the second track “Insatiable”. It’s emotive and raw and passionate…”forget trying to make your voice sound good…just let your emotions run”…so said Stephen…..let it blend with the exciting acoustic guitars.

The whole idea was to have five songs that were entirely different from each other:

1…”Cocktails and Cannabis”….rock groove

2…”Insatiable”…….Acoustic and melancholy

3…”Hey Peter”…Reggae/Upbeat

4…”Jenny”….Sixties/Beatleish

5…”My Baby’s Got Style”…..Jazz/Rock

2J Rae: Your first song off of the new EP is called “Cocktails and Cannabis” and this track will be submitted to radio stations worldwide by Musik Radio Promotions. What is the meaning behind the song itself and I’m dyin’ to know if there was any drinking or smoking involved during the making of this number?

Rhett May:

The song was initially about a lady whom I had the pleasure of knowing…..and was called Cocktails and Cannibals

She had a propensity to overindulge in mind altering substances…but also loved cocktails of all types. She also had an addiction to getting hungry…and aggressively oral….. from a sexual perspective… it was a lotta fun…but could get embarrassing in public occasionally.

We turned the lyric around a little…and hence “Cocktails and Cannabis”

Drinking and smoking???

NAW!!!!

What happens in Vegas….stays in Vegas…as they say!!!

2J Rae: I see that you have a deep musical background that dates back to the 60s & early 70s playing with bands such as: The Wooly Bullys/The Flint Stones & Shakespeare Sarani/Prodigy/Lucifer. Take us back in time Rhett and tell us what it was like playing back then VS. what the feeling is like today when you play?

Rhett May:

Those were the days of experimenting with everything….everything was fresh…new….there were no boundaries and there was some weird stuff happening…on all levels!!

Music…Girls…sex….drugs…fashion…opening my front door and finding girls asleep on my front doorstep…following me into buildings…commenting on the things…demanding ….showing and teaching….spontaneous ….creating lyrics…harmonizing…riffs….ragas….rhythms…everything was carefree all we lived for was music…dedicated to getting up and delivering raw attitude and music….nothing got me higher than music….strutting around and singing…until I could barely whisper at the end of the night.

People…artistes were genuine….people who worked in the industry genuinely got off on the music….managers…record company executives…advertising people…the fans….they lived for the music as much as…if not more than the artistes…the bands. The emotion and the passion that was created and passed on was real….it was not contrived or canned.

It’s different today….I understand that music is business today….and it’s a good thing!!

But it lacks the excitement and the passion and the understanding about what the artiste…the band goes through to produce that piece of music…the very song that they are using to make money off of!!

Somewhere along the track….the people who genuinely love and have a passionate fervor for the artiste, have been replaced by people…executives…AR types…. who are great at what they do…but the PASSION IS MISSING….and so is the excitement…the BUZZ !!!

2J Rae: I know, for a fact, that Rock ‘N’ Roll played a huge part in your life especially during the 60s era but that you also have a love for Indian music. Reason being is because you were born in Calcutta and then later moved to Australia. Would you mind telling the readers who may not be familiar with Indian-styled music what it’s all about and how you personally incorporate this style into your own music?

Rhett May:

I was lucky to grow up surrounded by a constant background of Indian ragas, tablas, the hypnotizing drone of sitars, rhythms of all complexities, voices and instruments harmonizing and weaving through my existence…from doorways of shops…houses…parades and processions…festivals….weddings….celebrations of any and every kind were out in the public and shared with everyone at all times day and night….subconsciously permeating, embedding, digging into my mind, my body, my senses. Moving…a living, breathing river of humanity…of musical notes and rhythms that became part of me….and if you were accepting as I was…..you absorbed and wallowed in its influences…it became part of my everyday…it helped and still does…with ideas, harmonies, melodies, lyrical twists that form what I am today !!

2J Rae: I’d also like to know what made you make the move from your homeland of India to Australia?

Rhett May:

My parents decided that it was time they moved the family to a more modern lifestyle, thinking about the future of their six children…I was the eldest and I guess it was an exciting time to experience all that we’d seen in the movies….sun…sand…blonde girls….rock’n’roll….

Traditional values were changing and my extended family was spread far and wide in England and in Australia.

My mother’s brother had come to Australia in 1965 and he kept raving about the lifestyle…so we up and left Calcutta in 1969.

Very sad…but it was also very exciting. A new country…a new culture and new experiences.

There is a saying “Change is opportunity”….so that’s exactly what I set my mind on.

But you can never change the influences that are part of your formative years.

2J Rae: I couldn’t help but notice that back in the day you had the honor to open up for legends Freddie Mercury & Brian May and even the iconic band Queen itself! How did this golden opportunity come about and what was that whole experience like for you? Did you ever have the chance to really talk to or get to know Freddie Mercury or Brian May?

Rhett May:

We were Lucifer…a hard rock band…think…Deep Purple…Uriah Heep…Zeppelin….Queen….Rolling Stones.

Five part vocals and a driving…grooving sound…the most popular travelling…touring band around and I guess it was a gig that sort of suited who we were…our style of music….perfect opening act for Queen.

A few words with Freddie (Freddie was Anglo-Indian by the way) and Brian May….I think Roger Taylor was also in the discussion…It wasn’t deep and meaningful…around twenty minutes or so…we had just finished….they were just about to go on…and we had to leave as soon as the gig finished, so couldn’t hang around for the after party…we were leaving that night for an extensive road tour of Adelaide, Melbourne and Sydney!!

2J Rae: I also read online that your former band The Flint Stones had a single titled “Be Mine (Happy By My Side)” that got the attention of both George Harrison (RIP) & Apple Records! I’m sure the readers, including myself, would love to hear more about this fascinating story! What was it about that particular tune that attracted the likes of the late, great George Harrison & Apple Records? Did you ever have a chance to speak with and get to know George Harrison or anyone else at Apple Records?

Rhett May:

We were signed to ‘His Majesty’s Voice’ in India….the tapes were sent to Apple Records and we got a call from the HMV guys saying that George Harrison from Apple had written and was interested in us as a band….asking if we could come over to London. There were discussions and the interest continued during their/our sojourn to Rishikish while they were in their Transcendental Meditation phase….unfortunately nothing came of it for one reason or another…..and we came over to Australia.

I’ve still got one of the Apple letters somewhere…might be worth something today???

2J Rae: How have you evolved as an artist & musician over the years? How are you feeling these days?

Rhett May:

Because I’ve lived and breathed music since I was a toddler….listening to my father play his old 78s of The Inkspots, Platters, Marty Robbins, Jim Reeves, Pat Boone…then onto Elvis, Ricky Martin, Fabian, Cliff Richard, The Beatles…Mersey sound….Yardbirds,,,Cream….the American bands…Steppenwolf…Hendrix…Doors….Purple…Sabbath…Stones…Country Rock…Punk…Disco…Funk…Ska…Reggae…Heavy Metal….Trash Metal…..Electro….Hip Hop…Rap…etc…etc….

The fifties…Sixties…Seventies….right through to the 2000s…..I’ve been through all the momentous memorable eras….flower power…San Francisco….WOW….the influences have been immense and completely mind blowing.

Here I am on the other side of this unbelievable six decades of music….and I’m down to writing very simple ‘Love Songs with an Edge…that go round and round inside your head ‘

Aha…but I also write very passionate and vital social conscience songs about the mistreatment of children and women in our community….of disabled people….economic and racial issues.

2J Rae: With Musik Radio Promotions promoting your current single “Cocktails and Cannabis” how much success have you had thus far with getting this track spun on radio stations across the map? And may I ask what the next single will be off of ‘Insatiable’? Moving forward, what sort of expectations do you have for Musik & Film/Musik Radio Promotions and what does the future hold in regards to your working relationship with the company?

Rhett May:

There are five songs on the EP…starting with “Cocktails and Cannabis”…each will be released as a single in its own right….that’s the plan.

We’re spending a lot of time on the artwork…..to make it special…that ‘WOW’ factor…as we’ll also be producing a collector edition of a 7” vinyl picture disc.

Regarding Stephen, Terry and the rest of the guys at Musik and Film….I know we’ve built a strong rapport…so I have every faith in their promotional ability and I know that they will give it their ALL and their BEST to push this because they believe in it as much as I do.

We will definitely work together once this project has run its course….and I know that whatever we do together will be successful!!

But I’m not looking at future projects right now…I’m looking forward to generating worldwide excitement with my new EP ‘Insatiable’.

By 2J Rae

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