DATE: 11 Feb 2007, 11:54 pm / MOOD: I Got The Blues
Dixie Chicks Score A Hat Trick
Who votes?
According to guidelines on Grammy.com, voting is open to Recording Academy voting members, "professionals with creative or technical credits on six commercially released tracks (or their equivalent). These may include vocalists, conductors, arrangers, and other fields directly related to the creative or technical process of producing recordings."
I bet a majority of our bands would be eligible. Hmmmm.
That's less than one album. And membership is wide open to independents and other little guys. Admittedly, smaller artists would have a more difficult time building enough clout to win any Grammy awards. But if you don't vote. . .
How do they vote?
Members are allowed to vote on the big four awards — record of the year, song of the year, album of the year and best new artist — and "directed" to vote only for other categories in their area of expertise. They're limited to nine out of 31 fields in the nomination process.
Those voters are then limited to eight fields in the second-round ballots, which determine the winners.
Name recognition explains how Milli Vanilli beat Soul II Soul, Tone Loc, the Indigo Girls and Neneh Cherry for best new artist in 1990. The voiceless duo was the most visible act on the list, very much seen if not exactly heard. And Grammy's most embarrassing moment. In fact, the list of nominees left out a number of artists that upon further reflection would be deemed better choices.
Indeed, hindsight is 20/20.
The category that year, it should be noted, could have also included newcomers Nine Inch Nails, Nirvana, Edie Brickell, Lenny Kravitz, N.W.A, and, if you stretch "new" a little, the Traveling Wilburys.
Other notably embarrassing winners: Flute-centric Jethro Tull won a hard rock/metal Grammy in the category's inaugural year, and hip-hop softies DJ Jazzy Jeff and the Fresh Prince won the first rap award. Mostly because the academy was frightened by rap and wanted to ease the genre in with a wholesome winner.
Sales? What sales?
Grammy calls its awards "truly a peer honor, awarded by and to artists and technical professionals for artistic or technical achievement, not sales or chart positions."
But saying sales don't affect Grammy decisions is like saying points don't affect sporting events. Sales always matter. Sales mean visibility, crucial for garnering the votes of people who don't know much about a category.
With That In Mind........
I'm pretty sure that for it's inaugural year, SonicJive musicians were shut out in the voting. But then again, there really is no place on the site for commercially successful artists like the Dixie Chicks and Mary J. Blige. They do not need us as a promotional vehicle. And, we really don't want them - we are here to give the real musicians a chance.
The thing is, and I am biased I know, but honestly, many of the artists in the SonicJive Community are far more worthy than the winners and the nominees if the awards were based on talent alone! Marashino and Disonic could give any metal band a run for their money. Weber Band has stuff that is as good as The Red Hot Chili Peppers. Chicken Wings & Gravy has a razor tight blues thing going on. The list is endless. I listen more to SonicJive Radio than I do my favorite local station.
We are truly on to something here. I can feel it.
That being said, because I am obligated to report industry news, I have tonight's winners in case you missed the show.
I would have voted for Chicken Wings & Gravy. But that's me.
This Year's Winners
courtesy GRAMMY.COM
Record Of The Year
(Award to the Artist and to the Producer(s), Recording Engineer(s) and/or Mixer(s), if other than the artist.)
Not Ready To Make Nice
Dixie Chicks
Rick Rubin, producer; Richard Dodd, Jim Scott & Chris Testa, engineers/mixers
Album Of The Year
(Award to the Artist(s) and to the Album Producer(s), Recording Engineer(s)/Mixer(s) & Mastering Engineer(s), if other than the artist.)
Taking The Long Way
Dixie Chicks
Rick Rubin, producer; Richard Dodd, Jim Scott & Chris Testa, engineers/mixers; Richard Dodd, mastering engineer
[Open Wide/Columbia]
Song Of The Year
(A Songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parenthesis.) Singles or Tracks only.)
Not Ready To Make Nice
Martie Maguire, Natalie Maines, Emily Robison & Dan Wilson, songwriters (Dixie Chicks)
Track from: Taking The Long Way
[Open Wide/Columbia; Publishers: Scrapin' Toast Music, Woolly Puddin' Music, Chrysalis Music, Sugar Lake Music.]
Best New Artist
(For a new artist who releases, during the Eligibility Year, the first recording which establishes the public identity of that artist.)
Carrie Underwood
Best Female Pop Vocal Performance
(For a solo vocal performance. Singles or Tracks only.)
Ain't No Other Man
Christina Aguilera
Track from: Back To Basics
[RCA Records]
Best Male Pop Vocal Performance
(For a solo vocal performance. Singles or Tracks only.)
Waiting On The World To Change
John Mayer
Track from: Continuum
[Aware/Columbia]
Best Pop Performance By A Duo Or Group With Vocal
(For established duos or groups, with vocals. Singles or Tracks only.)
My Humps
The Black Eyed Peas
Track from: Monkey Business
[A&M Records]
Best Pop Collaboration With Vocals
(For a collaborative performance, with vocals, by artists who do not normally perform together. Singles or Tracks only.)
For Once In My Life
Tony Bennett & Stevie Wonder
Track from: Duets: An American Classic
[RPM Records/Columbia]
Best Pop Instrumental Performance
(For solo, duo, group or collaborative performances, without vocals. Singles or Tracks only.)
Mornin'
George Benson (& Al Jarreau)
Track from: Givin' It Up
[Concord Records/Monster Music]
Best Pop Instrumental Album
(For albums containing 51% or more playing time of INSTRUMENTAL tracks.)
Fingerprints
Peter Frampton
[A&M Records/New Door Records]
Best Pop Vocal Album
(For albums containing 51% or more playing time of VOCAL tracks.)
Continuum
John Mayer
[Aware/Columbia]
Best Dance Recording
(For solo, duo, group or collaborative performances. Vocal or Instrumental. Singles or tracks only.)
Sexy Back
Justin Timberlake & Timbaland
Nate (Danja) Hills, Timbaland & Justin Timberlake, producers; Jimmy Douglass, mixer
[Jive Records/Zomba Label Group]
Best Electronic/Dance Album
(For vocal or instrumental albums. Albums only.)
Confessions On A Dance Floor
Madonna
[Warner Bros.]
Best Traditional Pop Vocal Album
(For albums containing 51% or more playing time of VOCAL tracks.)
Duets: An American Classic
Tony Bennett
[RPM Records/Columbia]
Best Solo Rock Vocal Performance
(For a solo vocal performance. Singles or Tracks only.)
Someday Baby
Bob Dylan
Track from: Modern Times
[Columbia]
Best Rock Performance By A Duo Or Group With Vocal
(For duo, group or collaborative performances, with vocals. Singles or Tracks only.)
Dani California
Red Hot Chili Peppers
Track from: Stadium Arcadium
[Warner Bros.]
Best Hard Rock Performance
(For solo, duo, group or collaborative performances, with vocals. Singles or Tracks only.)
Woman
Wolfmother
Track from: Wolfmother
[Modular/Interscope Records]
Best Metal Performance
(For solo, duo, group or collaborative performances, with vocals. Singles or Tracks only.)
Eyes Of The Insane
Slayer
Track from: Christ Illusion
[American]
Best Rock Instrumental Performance
(For solo, duo, group or collaborative performances, without vocals. Includes Rock, Hard Rock and Metal. Singles or Tracks only.)
The Wizard Turns On...
The Flaming Lips
Track from: At War With The Mystics
[Warner Bros.]
Best Rock Song
(A Songwriter(s) Award. Includes Rock, Hard Rock & Metal songs. For Song Eligibility Guidelines see Category #3. (Artist names appear in parenthesis.) Singles or Tracks only.)
Dani California
Flea, John Frusciante, Anthony Kiedis & Chad Smith, songwriters (Red Hot Chili Peppers)
Track from: Stadium Arcadium
[Warner Bros.; Publisher: Moebetoblame Music.]
Best Rock Album
(Vocal or Instrumental. Includes Hard Rock and Metal.)
Stadium Arcadium
Red Hot Chili Peppers
[Warner Bros.]
Best Alternative Music Album
(Vocal or Instrumental.)
St. Elsewhere
Gnarls Barkley
[Downtown/Atlantic]
Best Female R&B Vocal Performance
(For a solo vocal performance. Singles or Tracks only.)
Be Without You
Mary J. Blige
Track from: The Breakthrough
[Geffen Records]
Best Male R&B Vocal Performance
(For a solo vocal performance. Singles or Tracks only.)
Heaven
John Legend
Track from: Once Again
[Columbia/GOOD/Sony Urban Music]
Best R&B Performance By A Duo Or Group With Vocals
(For duo, group or collaborative performances, with vocals. Singles or Tracks only.)
Family Affair
(Sly & The Family Stone), John Legend, Joss Stone With Van Hunt
Track from: Different Strokes By Different Folks
[Epic/Legacy Recordings]
Best Traditional R&B Vocal Performance
(For solo, duo, group or collaborative performances, with vocals. Singles or Tracks only.)
God Bless The Child
George Benson & Al Jarreau Featuring Jill Scott
Track from: Givin' It Up
[Concord Records/Monster Music]
Best Urban/Alternative Performance
(For solo, duo, group or collaborative performances, with vocals. Singles or Tracks only.)
Crazy
Gnarls Barkley
Track from: St. Elsewhere
[Downtown/Atlantic]
Best R&B Song
(A Songwriter(s) Award. For Song Eligibility Guidelines see Category #3. (Artist names appear in parenthesis.) Singles or Tracks only.)
Be Without You
Johnta Austin, Mary J. Blige, Bryan-Michael Cox & Jason Perry, songwriters (Mary J. Blige)
Track from: The Breakthrough
[Geffen Records; Publishers: Chrysalis Music, Mary J. Blige Music, Naked Under My Clothes Music, Universal Music Corp., Babyboy's Little Publishing, Jason's Lyrics, Noontime South, Reach Global Tunes, WB Music.]
Best R&B Album
(For albums containing 51% or more playing time of VOCAL tracks.)
The Breakthrough
Mary J. Blige
[Geffen Records]
Best Contemporary R&B Album
(For albums containing 51% or more playing time of VOCAL tracks.)
B'Day
Beyoncé
[Sony Urban Music/Columbia]
Best Rap Solo Performance
(For a solo Rap performance. Singles or Tracks only.)
What You Know
T.I.
Track from: King
[Grand Hustle/Atlantic]
Best Rap Performance By A Duo Or Group
(For duo, group or collaborative performances of Rap only. Singles or Tracks only.)
Ridin
Chamillionaire Featuring Krayzie Bone
[Universal Records]
Best Rap/Sung Collaboration
(For a Rap/Sung collaborative performance by artists who do not normally perform together. Singles or Tracks only.)
My Love
Justin Timberlake Featuring T.I.
Track from: FutureSex/LoveSounds
[Jive Records/Zomba Label Group]
Best Rap Song
(A Songwriter(s) Award. For Song Eligibility Guidelines see Category #3. (Artist names appear in parenthesis.) Singles or Tracks only.)
Money Maker
Christopher Bridges & Pharrell Williams, songwriters (Ludacris Featuring Pharrell)
Track from: Release Therapy
[Disturbing The Peace/Def Jam Recordings; Publishers: EMI Blackwood Music, Waters of Nazareth Publishing.]
Best Rap Album
(For albums containing 51% or more playing time of VOCAL tracks.)
Release Therapy
Ludacris
[Disturbing Tha Peace]
Best Female Country Vocal Performance
(For a solo vocal performance. Singles or Tracks only.)
Jesus, Take The Wheel
Carrie Underwood
Track from: Some Hearts
[Arista/Arista Nashville/19]
Best Male Country Vocal Performance
(For a solo vocal performance. Singles or Tracks only.)
The Reason Why
Vince Gill
[MCA Nashville]
Best Country Performance By A Duo Or Group With Vocal
(For established duos or groups with vocals. Singles or Tracks only.)
Not Ready To Make Nice
Dixie Chicks
Track from: Taking The Long Way
[Open Wide/Columbia]
Best Country Collaboration With Vocals
(For a collaborative performance, with vocals, by artists who do not normally perform together. Singles or Tracks only.)
Who Says You Can't Go Home
Bon Jovi & Jennifer Nettles
Track from: Have A Nice Day
[Island]
Best Country Song
(A Songwriter(s) Award. For Song Eligibility Guidelines see Category #3. (Artist names appear in parenthesis.) Singles or Tracks only.)
Jesus, Take The Wheel
Brett James, Hillary Lindsey & Gordie Sampson, songwriters (Carrie Underwood)
Track from: Some Hearts
[Arista/Arista Nashville/19; Publishers: Dimensional Music of 1091/Sony/ATV Cross Keys Publishing, Raylene Music/BPJ Administration, No Such Music, Passing Stranger Music/1609 Songs/Music of Windswept.]
Best Country Album
(Vocal or Instrumental.)
Taking The Long Way
Dixie Chicks
[Open Wide/Columbia]
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DATE: 31 Jan 2007, 3:24 pm / MOOD: High On Life
I recently saw Smokin' Aces starring Jeremy Piven and so far it is my number one film of 2007. So I thought I would post the FIVE BEST films that I (actually) saw in 2006. Sorry, Cathy, Saw III did not make the cut.
I'll start with number one since I hate those writers who feel the need to suspend the moment and create what I call "crescendo writing". This way if you do not give a shit about the next four you don't have to waste your time.
T#1 - THE DEPARTED
This is the one film I watched repeatedly in 2006 - and I did so because it's so fucking genius. I've seen it eight times now, and it's been an excellent, compelling watch every time. I will never tire of it. Lots of folks were saying "Scorcese's back!", but I never thought he left;
But return to the genre he's most identified with he did, and Jesus, did Mr. Scorcese do so with a vengeance! "The Departed" is so good, it's actually a strong contender for sex substitute: I'd almost rather watch the flick again than get laid (almost).
All the performances, across the board, are superb, but the star turn, for me, was by Matt Damon: he was outstanding as the nearly amoral, uber-charming climber who acts as Jack Nicholson's eyes and ears within the Boston PD. The elevator scene in which Leonardo DiCaprio has Matt's corupt cop cuffed is my favorite movie moment of the year - particularly when Matt swings from defiant to broken, begging to be shot. If you haven't seen this flick yet, what is your problem?
#2 - LITTLE CHILDREN
Todd Field's study in upper-middle-class suburban unrest and desire is a clinic in subtle performance, largely thanks to the ever-brilliant Kate Winslet. The omniscient narrator, however, owns this flick and elevated it for me: it's one of the few times omniscient narration was ever used so effectively (and at all: normally, a story narrator in film is a character in the flick). The film felt like a novel sprayed across the screen, and I don't mean it was simply a strong adaptation; it felt like someone was reading me a novel. And I mean that in the best possible way.
#3 - CLERKS II
I actually just watched it last night and if you haven't seen it, you need to. Once again Kevin Smith ties together all of his movies in the storyline and it was nice to see the character Dante back. Brian O'Halloran knocks Dante out of the gate, with pitch-perfect delivery. I believe that this is still the Dante we knew - just a bit older. Jeff Anderson takes Randal, an already amazing character, and brings him to a new level. Randal becomes even funnier - and more touching. Trevor Fehrman's Elias adds the perfect foil for Randal's brand of mischief. Jay and Silent Bob, the dynamic duo, are also back - proving that Jason Mewes is back in top shape, and really enjoying making you laugh.
#4 - INSIDE MAN
I'm a Spike Lee fan. I'm a Denzel Washington fan. I'm a Spike/Denzel tag-team fan ("Mo' Better Blues" and "He Got Game" are two of my all-time favorite flicks). So this flick was right up my alley. An entertaining and energetic heist movie, "Inside Man" represented a new chapter in Spike's career: Spike as the director of commercial fare he didn't write. And if anyone was uncertain before (and after "Do the Right Thing", how could they be?), it's abundantly clear with "Inside Man" that Mr. Lee is one of the ten best American directors working today.
#5 - BORAT
We've seen actors starve themselves and put on massive amounts of weight to play roles, but Sacha Baron Cohen's ability to stay in character not just throughout the shoot, but also throughout the year-long promotion and release of this extremely funny film version of his "Da Ali G Show" character deserved at least an Academy Award nomination for Best Actor. What easily could've grown tired and dismissed as merely an overly-extended sketch was kept fresh and funny, thanks wholly to Cohen's Peter Sellers-like commitment to inhabiting his creation. Yes, the wrestling scene is hysterical, but for me, the funniest moment in a film crammed wall to wall with funny moments was when Borat is looking down at a large turtle (tortoise?) and asks "What kind of dog is this?"
Next Week - Top 5 LPs and Top 5 Singles of 2006. But since I watched Clerks II last night, I just felt like reviewing the flicks first.
DR. MUSIC
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DATE: 20 Nov 2006, 10:51 am / MOOD: FANTASTIC
Hi - this is Dr.Music. Thank you for finding my site www.sonicjive.com and thank you for taking the time to check it out. SonicJive is a website for and about musicians and music and also for fans of music. It is a community website for listening to and sharing music. WE WELCOME YOU WITH OPEN ARMS. WELCOME TO OUR COMMUNITY. Community websites are the big thing now. But the idea of a community has been around forever. I think the Grateful Dead got it right.
(Photo Courtesy Arista Records)
Rather than creating fans to form a community, they formed a community to create fans. And they have arguably the biggest musical community dedicated to one band or type of music. We have all heard of deadheads. That community is FORTY-ONE YEARS STRONG with millions of affiliated members. We want to follow in those footsteps by creating a community where musicians can share files with their friends and they can in turn share those files with their friends and so on and so on, thusly creating the community first and thereby creating new fans of their music. For instance, every membership comes with our very own Instant Messaging Service. That is one way to share files. Chat rooms are available, too so that you can spread the word to the masses. Take the time to navigate the site. Listen to SonicJive Radio, dedicated solely to local original music. If you like what you are hearing there will be a link directly to that artist’s SonicJive website. Most of all, SPREAD THE WORD………after all that is what being a part of a community is all about.
ARE MAJOR RECORD LABELS NECESSARY?
I suppose this can be misconstrued, but let's just read it in its literal form.
Some have asked me, "Why SonicJive? Why are you doing this?"
The simple answer is that there are a lot of great musicians, not just in this area, but nationwide, whose talents are never recognized because they cannot get that one big break.
Back in the day, you used to go to a bar and there was either a jukebox or a house band playing. Today it is all karaoke and deejay music. Which is fine, I suppose. Unless you are like me and you like REAL LIVE MUSIC.
But, I see changes on the horizon. Hasn't karaoke grown tiresome? Aren't all deejays playing basically the same stuff? I see a wave of change approaching.
So I decided I wanted to expedite that process.
But that is not the only reason.Where are all of the latest and greatest acts being signed? When are the record labels going to put out something fresh and new, earth-shaking and industry changing?The answers? They're not being signed, and record labels aren't interested in signing new talent, at least not like they used to or putting out anything fresh and innovative. My God, even Linkin Park, which had a fresh sound has gone more mainstream on their upcoming new release. All in the name of record sales, I guess. And that sucks.
Check this out. For the week of October 26th, 2006, the number one "album" on the Billboard Charts was "Press Play" by Diddy .
He sold a grand total of 170,843 copies. This album features duets with Christina Aguilera, NAS and Big Boi. That would be a great week for most artists. But it was a disaster for the Didster, and his record label (Bad Boy). Yes, it was still number one, but a truly pathetic effort sales-wise. Consider that the record for total album sales is 28 million+ by the Eagles, and you can see why Diddy would be disappointed. I will go on record here saying that “Press Play” will not sell 28 million copies..And the record labels know this. Right now we are seeing a huge groundswell of newly-formed independent labels. Many artists are forming their own labels. How difficult will it be for the start up bands to get discovered? To get heard? To get their music broadcast beyond the scope of a few local bars that will pay maybe $100 to $500 to "allow" them to play in front of mostly friends and relatives? And that is why I started SonicJive.
I first thought of this idea when I stumbled across a website while researching my idea. The website said..........
ARE MAJOR LABELS NECESSARY? CAN WE SURVIVE AND EVOLVE MUSICALLY WITHOUT THEM?
Caught my attention. Did it grab yours? Let me post their SIX REASONS they believe that Major Labels are not necessary.
1. Music diversity will grow.
The major labels' business model requires them to have a steady stream of consistent products. The very nature of their operation produces homogenized music designed for specific radio formats and scientifically honed to hit-making models. Artists are signed and promoted based on the opinions of individual A&R executives, not the popularity of the music. And this is what is happening with Linkin Park. Perhaps they should call their new release “Metamorphosis”.
When the major labels crumble, the diversity of mainstream music will blossom. It will be a revolution in pop culture. People will decide what's popular, not marketing.
2. Pay-for-play radio will end.
For decades, the major labels have controlled what's on the radio by paying radio stations to play their songs. Pay-for-play radio (aka "payola") means that independent labels can't get their music on mainstream radio and mediocre major label music gets on the radio just because somebody's paying.
Legislative efforts to end the practice have failed consistently. Payola is illegal, but labels simply skirt the law by paying third-party "independent promoters" to pay radio stations. As long as the major labels continue to have huge amounts of money to throw into radio promotion, we'll always have pay-for-play. But we can take the money out of the system. If we stop paying for major label music, we can stop payola. Interesting to note that Blackground and Roadrunner Records, two Universal Music Group affiliated labels, paid for late-night ads as part of the Entercom radio chain's CD preview program, according to allegations filed by New York Attorney General Eliot Spitzer. The program uses paid airplay to boost songs' chart positions. This paid airplay allegedly helped recent hits from the group Nickelback and solo artist JoJo reach the top of the charts this past fall.
"We are aware there is a possible violation in the terms of our agreement, and we're working to address the matter," says a rep for Spitzer, who reached a $12 million payola settlement with Universal in May. An Entercom rep was unavailable for comment. But Entercom did say in a statement to the New York Times that it didn't have control over the actions of either Roadrunner or Blackground's actions. “We’re investigating these allegations, but the decisions for these two acts were made by these two companies," Universal said. We have made them aware of our new promotion policies and have encouraged them to follow proper procedure." -- source Rolling Stone Magazine RS 1013-- source New York Times
3. Independent music won't be marginalized.
The major labels use their monopoly of distribution and their control of radio to prevent independent music from competing in the mainstream. Pay-for-play happens in print media too: if a record label places ads, they'll get reviews. Many in indie music circles have grown so used to being marginalized by the majors that they just accept it. Some even become proud of their own obscurity--after all, in this system obscurity is where you get when you stay true to principles. But it doesn't need to be that way. With the record industry in disarray, the media and the public are trying to understand what's happening. If independent labels and musicians speak out against the majors' unfair business practices, they can shift the debate and change the system. And the fans can help, too.
4. The lawsuits will stop.
The major labels hit a new low when they started suing fans this fall. But the million-dollar file sharing lawsuits are hurting hundreds of families, many of whom have young children. We've spoken with dozens of the people who've been targeted, and these lawsuits are literally driving families into bankruptcy. The risk and expense of fighting the suits rather than settling means that of the over 400 people targeted by the RIAA, there may not be a single case that gets decided in court. The only way to stop these suits is to stop buying the CDs that fund the lawsuits. The band Metallica saw a huge reversal in sales after speaking out about their displeasures with file sharing sites like Napster. That is a great way to prove a point to a record company executive and to a band.
5. Artistic freedom will expand.
For artists on major labels, label bureaucrats hijack the sound and control the final product. The label picks the producer of the album and they can always refuse to release it; sometimes labels even trash entire albums. And at the end of the day the label--not the musician--owns the copyright to each song.
The major labels have also made it illegal or prohibitively expensive to make sample-based music. They own all the copyrights and, unless musicians pay to 'clear' each sample, the musical equivalent of a collage becomes illegal art. Hip-hop and electronic music suffer the most from this restrictive, legalistic atmosphere. But if we take down the copyright cartel, the problem is solved.
6. Musicians will make a better living.
The major label system is the biggest barrier to musicians making money off CDs. Major label artists only start getting their tiny share of royalties (5-10 percent) once they've sold over 500,000 units. Independent musicians can get a bigger cut, but thanks to major label payola they can't get on the radio and won't reach a large audience.
All the things the majors do to manipulate the music business cost money. Millions of dollars in payola, 8 figure executive salaries, poor choices of new artists, overpriced studios--this money comes from musicians and fans, but benefits neither. If we cut out the waste, fans will be able to support more musicians while spending less.
So I am all in, as they say in Texas Hold'em speak, and so are all of us at www.sonicjive.com. We want bands and musicians who want to get their music heard. Of course, we also want them to make money. We give the musical talent on our web site the opportunity to sell downloadable music. But we also give them the option to share files as well.
For more info check out the site www.downhillbattle.orgDownhill Battle is a non-profit organization working to break the major label monopoly of the record industry and put control back in the hands of musicians and fans. Downhill Battle launched in August 2003 to create a public voice that could counter the distortions of the RIAA and the major record labels. Downhill Battle is a collaborative project and works with musicians, music fans, artists, and designers around the world. There is a core group of people working full-time, based in Worcester, MA. They see an unprecedented opportunity to create a decentralized music business and a level playing field for independent musicians and labels. They're doing everything they can to make that happen. And so are we
When we have you on our site, your downloadable original music will result in you keeping your profits. And your original music will play on SonicJive Radio. For free. No artist or musician will take precedent simply because someone wants to pay us for extra airplay. All community members will be treated equally. Welcome to SonicJive. Your Music. Your Way.
Peace y'all!
Dr. Music
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