Thursday, June 18, 2009 - Rock The World Campaign Impacts 192 United Nations Countries

The nonprofit organization Humanitarian Resource Institute, founded in 1994, is moving ahead the Rock the World Campaign through the Global Arts Integration Into Education Initiative. The campaign is being directed by Country Music Association Artist and Founder of Humanitarian Resource Institute, Stephen Michael Apatow.

Project Overview

Rock The World Campaign: Soundtracks from "Outside of the Box" available on MySpace and AirPlay Direct (High Quality Streams for radio stations and television). "Outside of the Box," compilation by Country Music Association Artist Stephen Michael Apatow.

Orchestrated through the Global Arts Integration Into Education Initiative, international objectives are to:

* Promote collaboration and empowerment of artists in every United Nations member country, who will promote citizen advocacy in support of the felt needs of their fans and communities. * Provide a support system for artist collaboration in strategic planning, including targeted policy development initiatives. * Assist grassroots, national and international level communications support in conjunction with concerts, events and media initiatives.

Today, communication network integration, from the non-governmental organization Humanitarian Resource Institute reaches:

* newspaper, radio and television, corporate, intergovernmental, non-governmental, United Nations, community action and interfaith organizations in approximately 195 countries. * grassroots networks (household level), corporate, municipal, state and federal government, community action and interfaith organizations in approximately 3100 United States Counties.

Contact Information:

Stephen Michael Apatow

Founder, Director of Research and Development Humanitarian Resource Institute Phone: (203) 668-0282 Internet: Email:

Director, Global Arts Integration Into Education Initiative Internet: Twitter: unarts

Connect with Stephen Michael Apatow on: Myspace I Artistopia I Airplay Direct

-------------------------------------------- What happens behind the scenes, is what shapes the face of progress. Artists have the direct connection with the grassroots level and have the capacity to inspire hope and healing. The combination of these two encompasses the face of "Arts Integration Into Education," and our spectrum of work here in the United States and 192 member states of the United Nations. -- Stephen Michael Apatow -------------------------------------------

Wednesday, June 17, 2009

Triptych 3, Shulgin's Songbook: Exceeding Genre Limitations

Relative to jazz in general, the genre "smooth jazz" often entails less complexity and more accessibility. However, Alexander Shulgin - the famous Russian composer and former member of the band "The Cruise" - succeeds in creating an album that is both complex, yet accessible, and thus pleases both musicians and non-musicians alike. With an all-star line-up that includes, John Patitucci, Billy Cobham, and Bob Mintzer, Part 3 of Shulgin's songbook "Triptych" has plenty to offer.

One of the album's strength's is Shulgin's willingness to experiment with different instrumentations, which keeps the album feeling fresh throughout. On the tune "Winter," Gregoire Maret is featured on harmonica, and it creates a totally different color than what the listener is used to up until that point. In addition, sax player Snake Davis often plays the flute instead of sax, and this also contributes to making the album diverse in terms of color and sound.

The use of the stand-up bass also adds a welcomed new sound to the album. On "Summer", John Patitucci plays stand-up, and it is a nice change from the electric bass (even though Janek Gwizdala is fantastic as well). Naturally, Shulgin gives Patitucci room to solo, and as usual, Patitucci plays in a way that is appropriate for the song (the sign of a talented studio musician). Meanwhile, drummer Gary Husband provides subtle and tasty snare work in the beginning, and then appropriately moves to brushes for Patitucci's solo.

Another admirable aspect of this album is that Shulgin gives his musicians room to really show off their abilities. Towards the end of "Winter", Maret displays his chops on the chromatic harmonica. It's tough to name the great harmonica players that are around today. For me, Stevie Wonder and Howard Levy (former member of Bela Fleck & The Flecktones) are the first two that come to mind. However, after hearing Maret on this track, I would certainly add his name to that list, for his solo is nothing short of virtuosic. On "Brazilian Summer", bassist Janek Gwizdala plays a blazing solo while singing along to his improvised melody (ala bassist Richard Bona).

A Look At "Triptych, Part 3: Alexander Shulgin's Songbook"

On the track "Airplane", Bob Mintzer is featured on saxophone. The head is quite simple, but his solo is what makes the tune. He glides over the changes with effortless ease and Shulgin gives him room to show off those skills that made him famous in groups like The Yellowjackets, and The Word of Mouth Big Band (led by the late, great Jaco Pastorious). At times, with certain songs that feature some of jazz's best, I feel that Alexander Shulgin was simply saying "Hey, look who I got to play on my album!" Regardless, that's perfectly fine with me.

Though the album definitely has the sound and often the feel of smooth jazz, it has the musicianship of classical music or bebop. Alexander Shulgin is a composer that clearly knew what he was doing when he was putting together a band. Even the lesser-known musicians are still excellent players and they add a lot to the album. For instance, on the infectious "Catch" (appropriately titled), Richard Niles provides great guitar work and a tasty solo, utilizing a clean jazz tone.

Although part 3 of "Triptych" has a lot going for it, it's the musicians that really carry the load more than Shulgin himself. Though several of the compositions are quite interesting and complex, it's the players that really bring them to life. In the end, the genre "smooth jazz" still might be the best classification for Part 3 of "Triptych", for the overall sound is quite typical of smooth jazz. However, because it is played at the highest level, by some of the greatest musicians in the world, it stretches the genre beyond its usual limitations.

Track Listing 1. Osen' (Autumn) 2. Lovi (Catch) 3. Samolet (Airplane) 4. Nebesa (Heavens) 5. Zima (Winter) 6. Noch' Nezhna (Night is Tender) 7. Polyot na Vozdushnom Share (Balloon Flight) 8. Nebo nad Piterom (Sky over St.Petersburg) 9. Riga-Moskva 10. Leto (Summer) 11. Pevitsa (Singer) 12. Posmotri vokrug sebya (Look around) 13. Vesna (Spring) 14. Brazil'skoe Leto (Brazilian Summer)

Performers John Patitucci: double bass Bob James: keyboards Billy Cobham: drums Bob Mintzer: sax Richard Niles: guitar Gregoire Maret: harmonica Janek Gwizdala: electric bass Kim Chandler: backing vocal Richard Cottle: keyboards Snake Davis: sax & flute Gary Husband: drums

US Singer To Aid Children With Speech Difficulties

Indiana Gregg truly is an inspiration.

From a child suffering with speech difficulties, to a successful wife, mother, businesswoman and recording artist, her journey has been long and eventful.

Today, Glasgow-based Indiana is in the final stages of formally launching "Kerchoonz", a new social media platform for bands and artists, where fans can listen to music for free, and bands are paid for each stream through an advertising share that they receive from the site. Sales of the new "K-box", a gel audio portable speaker which transforms surfaces into sound, are soaring and she is putting the finishing touches to "K'Ching", an online sale and auction shop.

In the midst of all this, Indiana still finds time to record her material and perform live. However, she has not forgotten the hurdles she has managed to overcome, and has vowed to use her experience in helping others to overcome theirs.

"I hope that my story will encourage other children to follow their dream, especially in music", she says. "Challenges can be overcome and will make them stronger and more determined individuals later in life".

Indiana's story began in primary school, in the United States. A musical child, she was frustrated by the inability to control her stammering and the teasing which she endured on a daily basis. Music, however, gave her focus and an outlet for true expression and she felt most at home performing on stage. Her speech therapist, who she saw twice each week for five years, encouraged her to use her singing talent, storytelling and physical expression to distract her for being nervous, and it is this one woman, she says, who led her to a career as a recording artist.

"I was able to perform without having any trouble, since a song could easily be rehearsed and not stuttered", Indiana explains. "It gave me the opportunity to relax. Memorising a song and performing it became much easier than having to speak out loud to people".

Indiana is determined to use her own personal success and that of her organisation, Kerchoonz, to assist therapists through music and performing. Through utilising her own musical resources, and speaking to similarly-affected children, she is there to offer hope and support. "Kerchoonz is interested in partnering with music, speech and autism therapists who are interested in using both live and recorded music as part of their therapy groups. We can help them to find local musicians as well as recorded music and are involved in developing audio tools like our recently released "K-box" speaker, to assist with their programme. We hope to work with therapists globally, to gain feedback and give support through the power and outreach of the Kerchoonz social network and the internet as a whole".

With an estimated 300,000 children in the UK under the age of sixteen currently experiencing this difficulty, without any definitive "cure", Indiana and Kerchoon's input will prove to be a valuable resource for many therapists in this field.

Indiana is a singer-songwriter living in Lenzie near Glasgow, Scotland . Her music contains elements of pop, soul and folk. Releases include featured artist on Kool & the Gang's "The Hits Reloaded" where she performed their hit titled "Tonight" and a 2007 debut release of her album "Woman At Work" with singles "Sweet Things", "Love Is Blind" and "One of Us" released from the album in April, June and October 2007 respectively.

Indiana is also co-founder and director of, a social networking site that pays musicians, bands, artists and songwriters when the public listens to their music. Indiana and her music producer husband, Ian Morrow, began developing the site in October 2006. The site went into beta in October 2008 and is scheduled to fully launch later this month.

Matt Brouwer Releases Repackaged "Where's Our Revolution" CD

Black Shoe Records/Indie Extreme recording artist, Matt Brouwer has signed a distribution deal to repackage and distribute his most recent album "Where's Our Revolution" through Universal Music Christian Group/Fontana Distribution. The deal includes international digital and mobile distribution as well as CBA and mainstream retail distribution. The release date for the Delux Edition of the CD, called Brouwer's "best work to date", is set for August 25, 2009. The package will feature bonus songs, including Matt's 2006 Billboard hit I Shall Believe, plus free downloads including the I Shall Believe Music Video and live performance footage from Matt's 2008 Canadian Fall Tour.

The album has been in limited release over the past year through Brouwer's website and iTunes, where his latest single Come Back Around gained him a spot on the iTunes Rising Stars:Christian Compliation with a mention on the "Next Steps" page.

After taking a short June break from a heavy touring schedule, Matt returns to the road with a special acoustic performance at a fundraiser for the High School he attended in Truro, Nova Scotia. Matt then will criss-cross the USA with trips between Texas and California for concerts before he heads to Monterey, CA for a Spirit West Coast Music Festival appearance on July 29th at the Acoustic Cafe and July 30th for a full band performance on the Main Stage. Then it's off to Houston for an August 1st appearance as the headliner for the Houston Dynamo Major League Soccer Faith and Family Night and another trip to California for an appearance in The Redlands and beyond.

Pre-Sales for the new release of "Where's Our Revolution" begin July 14,2009 through , selected websites, and at each of Matt's live performances. For a complete list of tour dates and more information go to or

Music Matters - A Window Into The Asian Music Market

By Eric de Fontenay, MusicDish e-Journal

I've been a regular to several of the major worldwide music conferences over the years, from MIDEM (Cannes) and Popkomm (Berlin) to Canadian Music Week (Toronto). These have not only been a great opportunity to meet and do business with companies in major Western markets, but to also gain a true perspective on the challenges and opportunities specific to those markets. So, it was with quite some excitement that I made my way to Hong Kong for my first trip to Asia, and the 4th edition of Music Matters at the Grand Hyatt from June 2-4.

Nana Suryadi (Bakrie Telecom, Indonesia), Damayanti Ariandini (Viva News Indonedia), Mandar Thakur (Soundbuzz India)

From the start, it was clear that Music Matters has a distinctly different feel from most other conferences, more of what I'd call a 'family affair'. Unlike other conferences that offer a plethora of simultaneous, often lightly attended, Music Matters sets a unified program followed by all delegates. The message is clear: If you want to understand the Asian market, here is the information you will need. And whereas the other conferences make participants available to facilitate scheduling meetings in advance, Music Matters takes a completely opposite approach. "We want a free-flowing networking event where everyone has access to everyone else in a open format," explained Commercial Director Stan Ruza.

While I was initially skeptical that this would work, it ended up being a nice and productive change, especially for someone looking to build up a broad base of contacts in Asia. I left with as many contacts as I do from other conferences, even though it was much smaller -- composed mostly of decision makers from all the major Asian markets: from Tokyo to Mumbai, Sidney to Kuala Lumpur.

Japanese Nirvana

While I learned a lot about the Asian market in those 2 days, the most surprising "revelation" was actually a question: when will the Japanese music market surpass the US for the #1 position? More shocking were the estimates ranging from only 5-10 years.

Shahrum Shah (Rock Unite, Malaysia), Pushpinder "Eddy" Singh Chawla (BEAMS, India)

So what exactly is happening to justify this doomsday scenario (at least from the US perspective)? Simple: the Japanese love music, and are still more than willing to pay for it, whether old or young. Kei Ishizaka, CEO & Chairman of Universal Music LLC Japan and RIAJ (Recording Industry Association of Japan) Chairman presented some facts in his opening keynote "New Strategies & Opportunities in Japan" that might make some in the West red with envy:

* Digital sales in Japan have increased from 7.5% in 2005 to 20% in 2008
* Mobile is the driver, accounting for 89% digital sales in 2008
* Note that this is a slight drop from 94% in 2005, credited to iTunes Japan which, accounts for 50% of online sales
* Japan is the only music market where digital sales have made up for losses in physical sales - that is until 2008, when physical losses appear to be outpacing the growth of digital sales
* Japanese music consumers appear relatively price inelastic, with a willingness to pay the highest prices of any country for music: up to $4/ringtone and $30+/CD album
* The Japanese music industry is still a hit-driven one

Perhaps most importantly, the Japanese music industry has not abandoned its most profitable customers: those over 40. The dirty little secret in the US is that according to Soundscan, CD sales have fallen faster amongst those over 40, largely out of neglect by labels focused on the youth market. The Japanese music companies on the other hand, have consciously developed products for the over 40 demographic, which (i) do not download music and (ii) are willing to pay big bucks ($30+) for a high-quality CD (ie music, packaging...).

This is not to say that Japan is a complete musical nirvana: more music was acquired via illegal means (407 million tracks) than legal (329 million tracks) on mobile platforms. In 2006, the RIAJ sent over 220,000 takedown notices, and have since filed criminal charges against mobile BBS (Bulletin Board System) site operators. But despite these challenges, the Japanese market has been growing non- stop, with the exception of 2008 when it recorded a measly 3% drop in sales, which is not generally viewed as a trend for the coming years.

Canada @ MM: Neill Dixon (Canadian Music Week), Duncan McKie (CIRPA), Robert Lanni (Coalition Entertainment)

Get Me A Piece Of That Pie!

By this point, you're probably trying to devise ways to grab of a piece of the Asian pie. Think again! You're still more likely to make it in the US or Europe than earning any yens or yuans. Just like the Great Wall of China, the Asian market presents nearly insurmountable challenges for even the most savvy western artists.

First, the Asian market is completely dominated by local repertoire. Japan is actually one of the more accessible markets, with international repertoire accounting for a little over 20%; though, this has been decreasing over recent years. Look outside of Japan and the numbers are downright depressing. Take the fastest growing markets such as Malaysia, Indonesia, India and China; and their local repertoires accounts for nearly 99% of total.

Put simply, Asians want music that they are culturally/linguistically comfortable with and can relate too. Of course there is Hip Hop, Pop, and Rock throughout Asia, but it is all sung in their respective native language, with their cultural nuances. This is in complete contrast with the West where English is, for all intents and purposes, a necessity to become an international star, whether you’re called Shakira, Bjork or The Scorpions.

In addition, Asia has no long-tail effect. It is still a hit-driven market, which tends to play against foreign acts. The general consensus among conference speakers and attendees appears to be that Asian consumers are just too busy working to go hunting for new music, to listen to podcasts, or to endlessly surf social media sites.

As such, Asian consumers are much more 'captive' to recommendations and editorial leads than say the US, where we have a proud tradition of bin-diving for that rare LP - wasn't the old Napster and today's MySpace simply the digital shape of this art form? The fact that mobile drives music consumption as opposed to the net, has some part to play in this as well. For the same reason, all-you-can-eat subscription services competing with iTunes are not likely to gain a sufficient subscriber base despite the markets' sizes.

Calvin & Chris B with The Underground

But let us say, for argument's sake, that you do develop some recognition in an Asian market. How do you expect to generate money from it? You've all heard of the scourge of piracy in Asia, so I don't want to rehash the topic. Let me just leave you with this fact from Google China's Bin Lin: of the 7,000+ music services in China, only 0.1% of their offerings are legal downloads.

Licensing isn't much help either. Unlike North America and Europe, where Performing Rights Organizations (PROs) have a long history, collection agencies are relatively young in Asia and have yet to get a grip on the digital market. As a consequence, there is a lot of mistrust between publishers and PROs, which significantly hampers licensing opportunities. If one takes the Indian market for example, where 70% of music consists of soundtracks (courtesy of Bollywood), music labels have been collecting all relevant rights until recently.

Even the mature Japanese market has its eccentricities, such as songs being available free of sync licensing for commercial purposes up to one year after its release. As a consequence, success in the Japanese market may well depend on a willingness to waive sync rights for commercial use, representing an important way to break a song, explained Kimitaka Kato, Universal International Managing Director.

Are You Depressed Yet?

Frankly, I'm not! My recommendation is too look at the Far East as the Wild West: full of opportunity for those with the patience and guts too tough it out. The first lesson is that you are nobody unless you are here. Thus I made the trip to Music Matters and then to Beijing, where I met a successful music pioneer, Kenny Bloom.

Bloom, who was kindly referred to me by NARIP's (National Association of Record Industry Professionals) Tess Taylor, came to China over 20 years ago to launch Warner Music. He now runs Mogo (, one of the coolest video sites in China serving the young, hip (undeserved) Chinese urban youth. So why is he still in China with everything I previously mentioned?

(i) China has the largest internet population (around 300 million, ie, the entire US population)
(ii) Around 80% of Chinese internet users are music consumers (240 million)
(iii) Music was the #2 search term for the last 3 years
(iv) At $50 billion annually, China is now the 2nd largest advertising market (It just recently surpassed Japan for the #2 position)

He also has a different take on the Chinese consumer. According to Bloom, it's not so much that the Chinese are busier or harder working, but that they are in an underdeveloped media market. Media in China (TV, radio and to some extent the internet) is directly or indirectly controlled by the Communist government.

As The Economist recently noted "the proliferation of channels for media, information and entertainment offers unbounded scope for the [Chinese Communist] party to get its message across, abetted by commercial operators." One consequence of this is the sanitizing of media in order to appeal to a national audience that includes rural peasants as well as urban dwellers. It's a process not unlike our over-conglomeratized radio or broadcast TV markets, which is suffering from competition by more original and niche programming on cable, satellite and the internet.

The upside is that this presents unique opportunities to serve the growing chique urban class, which the centralized media market is incapable of satisfying; a segment Bloom estimates to be 40 million and growing. By serving this high-value segment with high-quality, original video programming, Mogo is able to attract big-name brands such as Converse that place a premium on this demographic. To some extent, Mogo is trying to do for China today what MTV did for the U.S. in the 80's.

Another Beijing-based company to watch is Yobo Music (, a recommendation and discovery site for music. Its founder Allen Guo was perhaps the most eloquent at Music Matters on the need to offer Chinese consumers a variety of models and services that enhance their music experience. Only by meeting the various needs of different consumer segments -- as the Japanese music market has done so successfully -- will alternatives to piracy be sustainable.

Future revenues will be driven by value-added music services rather than easily pirated downloads or ringtones. And while advertising may seem a panacea to many in the U.S. and China (did I mention they are the 2 largest advertising markets), Allen noted some success by Yobo Music with other revenue models such as micro-payments and music gifting.

The Silver Lining

In the end, the Wild West was tamed and I believe the same will happen with China. America in its first 50 years was home to pirates (ie., privateers) and some of the worst copyright/patent infringers of the time. This is part of what lead to the growth of the young, scrappy republic. But as it matured, and itself became more of a creator/innovator, America began to place increasing value on protecting copyright/patents.

The same will be true for China. As Bloom noted, "How do you expect a people that had no concept of private ownership 10 years ago to understand, let alone value, something like copyright?" In other words, not only has copyright been a foreign concept, it would have been counter-productive to the country's development. But as it begins to export more cultural goods and develop new patents, that trend will reverse as surely as it did in the US. The only question is whether it can put the genie back in the bottle when the time comes.

I happened to arrive in Beijing on the 20th anniversary of the Tiananmen Square incident. Sure enough, I could not access Twitter or YouTube, and any coverage on foreign TV channels, like BBC were blocked by a blank screen. Once the Communist Party determines that copyright is something worth putting the effort towards protecting, I wouldn't give those 7,000+ so-called music services much of a chance.

Amy Speace Shows Her Love For The 'Killer' In You At Joe's Pub

"A collection of gems, a little dark around the edges. As a singer, she's got a soulful voice that grabs your ears. Take note, Amy's one artist you won't want to miss." – John Platt, WFUV

WHERE: Joe's Pub, 425 Lafayette Street, New York NY 10003
DATE: Friday, June 19
TIME: 9:30pm
TICKETS: $15 at

Amy Speace will captivate audiences at Joe's Pub on June 19 when the pop-folk troubadour and her stalwart band the Tearjerks (featuring James Mastro on guitar) perform the unflinchingly honest songs from her new album 'The Killer In Me,' out June 30 from Wildflower Records.

Stream songs from 'The Killer In Me' here:

"Speace is no fool when it comes to writing songs," hails American Songwriter, who recently named her their Writer of the Week. Speace carefully toes the line between pleasure and pain in the title track, which is "deeply introspective, at times bleak, but the hooks ache so good;" while her performance of "Haven't Learned a Thing" "reminded everyone in the room of the continuous struggle to improve our lives and, especially, the relationships most important to us."

Tuesday, June 16, 2009

Women's Radio on Indiana Gregg, Kerchoonz, K'ching & K-box

Listen to Women's Radio Brian Ball's interview with Indiana about the official launch of new Social Networking site and new features like K'ching where artists and fans alike can buy and sell products and tweet & Facebook and share the products that they are buying and selling to the world. A new digital download shop for artists and the new K-box from Kerchoonz that turns surfaces into sound! Take a listen...

Win A Gibson SG Standard Guitar With MyMusicSuccess.Com

MyMusicSuccess.Com the leading online music promotion resource has joined forces with the world's biggest guitar manufacturer Gibson to give away a new free co-branded music promotion handbook 'The Secrets Of Independent Music Success'.

To kick off the partnership, MyMusicSuccess.Com and Gibson are running a competition with a prize of a brand new Gibson SG Standard lead guitar. The competition will be run on the MyMusicsuccess.Com website at

Visitors to MyMusicSuccess.Com who download the music promotion eBook and sign up to the Music Success newsletter before September 31st 2009 will be entered into a grand prize draw to win the Gibson guitar. Winners will be announced in October 2009.

About MyMusicSuccess.Com

MyMusicSuccess.Com is the leading online music promotion service based in Hilversum, The Netherlands.

The MyMusicSuccess.Com mission is to help independent artists get the recognition they deserve in the independent music marketplace.

The website runs regular features, competitions, news and reviews about maximizing the value of independent promotion and offers a wide range of cost effective music promotion solutions, from indie starter packages for newcomers to custom advertising and promotion for established indie artists and labels.

The Making of 'Love Kills' by This Is A Shakedown!

Get inside the studio with Cleveland's hottest band, This Is A Shakedown! Watch never before seen interviews with Multi-Platinum producer Michael Seifert and Multi-Platinum mixer Sean Beavan and TIAS! exclusive band interviews and live tracking shots.

Monday, June 15, 2009

Amy Speace To Perform At The North Star Cafι On July 5

Americana-rock recording artist Amy Speace will be giving a performance at the Portland, Maine's North Star Café on July 5 to promote her upcoming album "The Killer In Me," set for release by Wildflower Records on June 30.

Sunday, July 5 - 7 PM
225 Congress Street
Portland, Maine
(207) 699-2994
$12 cover

The show will follow her album release party at New York's Joe's Pub on June 19 and performance at the Philadelphia's famous World Café Live on July 3. The Killer In Me has already received high praise, with Billybop CD saying it's a "strong and enjoyable album full of emotive songs" while Whisperin and Hollerin describe her "as one of Americana's most promising new talents."

The Killer In Me, follows her 2006 breakthrough album Songs for Bright Street. While Songs won her a loyal international fan base, The Killer In Me finds the NY-based artist forging into deeper, darker lyrical and musical terrain, delivering an album of startling intimacy and resonance. "This is the record that I needed to make," Speace states. "In many ways, it was the hardest thing I've ever done. And in some ways, it was the easiest. Writing the songs was emotionally difficult, deep and intense--it was kind of an exorcism. But in the end, the songs flowed pretty quickly. You write the things that you’re afraid to say out loud."

Possessing a commanding voice, a distinctive melodic sensibility and an uncanny knack for nailing complex emotions in song, AMY SPEACE makes music that's both illuminating and effortlessly accessible. The Killer In Me's 12 soul-baring new songs maintain the effortless melodic appeal of her prior work, while delivering complex emotional insights that give the album startling intimacy and resonance. Speace recorded the album with her longtime producer and lead guitarist James Mastro, of Bongos/Health and Happiness Show fame, and her longstanding live band the Tearjerks, comprised of guitarist Rich Feridun, bassist Matt Lindsey and drummer Jagoda. The sessions took place at alt-pop legend Mitch Easter's Fidelitorium studio in North Carolina, with Easter lending his talents as engineer. Also on board is English rock icon Ian Hunter, who adds his distinctive vocals to a pair of songs.

Funky, groove-rock in Jimmy Mancus' "Give it Up" (feat. RasMG)

"It is apparent that musician Jimmy Mancus has a flair for an eclectic and cool way of writing and singing songs, as evident in his latest single, Give it Up, off of the album Move Down. Summer is just around the corner and it’s only fitting that we all have a summer song to groove our bodies to. It also doesn’t hurt to have RasMG featured on the track. Jimmy, the self taught musician, teamed up with RasMG, who is a well respected DJ and songwriter in the Southern California area for this epic track. This is a feel good song that has a funky bass line, classic hip hop beats, mellow guitar riffs and Jimmy’s funky soul singing style; just the right song to groove away the summer." -- Veronica Cole

Independent artist Jimmy Mancus has never been one to adhere to the unwritten rules of the singer/songwriter genre. Foregoing the copy-cat, soft-rock that floods today's scene, Mancus brings an eclectic blend of styles and sounds to the table with his soon-to-be-released, new album, "Move Down". The album's 14 tracks, encompassing elements of rock, pop, surf, indie, funk, reggae and hip-hop, come together to create a record that can be called anything but your "run-of-the-mill, singer/songwriter album."

Livekick Launches Its Live Concerts Recommendation & Tickets Search Engine

New York, NY - June 8, 2009 - Livekick, the live concerts recommendation and tickets search engine, announced today the official launch of its platform at The site, which is free to use, helps music fans easily discover local live concerts based on artists they like and find the best and cheapest available tickets online. The Livekick search engine includes more than 75,000 concerts in the U.S., more than 20,000 artists performing, close to 40,000 venues, and near real-time updated ticket pricing information from the most popular concert tickets web sites.

Anyone can easily create a free account at and add their favorite artists in seconds by pointing Livekick to anywhere they engage with music, online or on their computers. You can import artists from your iTunes library, computer music library, MySpace Music,, Pandora, iLike, or Rhapsody accounts. You can also add artists by name or by selecting artists Livekick suggests. Livekick creates a musical profile based on your favorite artists and automatically imports new artists from your music services as you listen to new music online.

Based on your musical profile, and where you live or travel to, Livekick makes sure that you are always updated about artists' tours that are relevant to you, and about special promos, tickets presales and more. Livekick automatically sends you newly announced concert recommendations via email, Twitter or personalized RSS feeds and you can also check your concert recommendations on

Once you find a concert to go to, Livekick makes it easy for you to find and to buy the best available tickets online. The Livekick tickets search engine continuously scans the most popular direct and reseller ticket web sites, including TicketMaster, LiveNation, StubHub,, TicketWeb, TicketCity, TicketsNow, eBay, and MySpace Music, to find the cheapest currently available tickets.

"We developed Livekick to help music fans never miss a live concert again," said Aviv Eyal, co-founder of Livekick. "Our live concert recommendation alerts ensure you're among the first to know when an artist you like is performing near you, and our tickets search engine provides you with the most affordable ticket options available via all of the major ticketing sites. Livekick is a valuable one-stop destination for music fans and anyone who's looking to make the most of their entertainment dollars."

For music enthusiasts, Livekick has additional features that make it the ultimate one-stop destination for live concert information. Your Concerts provides a personalized concert calendar with your favorite artists' performances, which you can easily export to your Outlook or iCal calendars; Your Artists tracks your favorite artists with complete tour listings, user-generated videos from their live concerts, links to artists' web sites, and more; the Livekick Desktop Widget, downloadable to a PC or a Mac, automatically scans your computer daily for new music files and adds new artists you listen to on your computer to your Livekick account; and social network sharing enables you to share concerts with friends via Facebook and MySpace.

Web site developers can use the free Livekick API, available at to add rich, local and up-to-date concerts and tour information to their web applications. Utilizing the API, CBS Radio Online provides radio listeners with a link to Livekick to find out about live concerts by artists they hear on the radio, and to find the cheapest tickets available online.

Livekick was founded by Aviv Eyal and Yarden Tadmor in May 2008 and soft-launched in beta in Fall 2008. Livekick was recognized by AlwaysOn as an OnHollywood 100 winner in 2009.

About Livekick Livekick is a live concerts recommendation and tickets search engine that helps you never miss a live concert again. Livekick helps anyone easily discover local live concerts based on artists they like and finds the best and cheapest available tickets online. The Livekick search engine includes more than 75,000 concerts in the U.S., more than 20,000 artists performing, close to 40,000 venues, and near real-time updated ticket-pricing information from the most popular ticket web sites. It is free to create a Livekick account and use the site. Livekick was founded by Aviv Eyal and Yarden Tadmor in May 2008. The company is based in New York. Visit for more information.