Recording - October 2014 - 66

Continued from page 65
ground source music, and they just needed to set
the tone?
I know that in the panel that you guys are going
to do later, you're going to talk about universal
lyrics nonstop, because they're looking for something that's going to apply in a lot of situations.
When we find music-whether it's new music or
old music-all I really want is a great song. I
really don't care what it's about. If it's a great
song, if it hits me here [in the chest], if it makes
me want to dance, if it makes me want to cry, I
don't really care what it's about. If you have
something that's really good, it's going to get
licensed. And I always tell people that licensing
music is a lot like electrons. You either know
how fast an electron is moving, or you know
where it's located, but you don't know both at
the same time. And really good music could get
licensed, but you don't necessarily know when.
So the thing is, if it's good, it will get used. It's a
marathon, it's not a sprint. You know, we signed
some stuff maybe four years ago in the U.K.-
amazing stuff from the 1960s. We pitched it for
film and TV for about two-and-a-half years, and
nothing happened. And, you know, we're sitting
there wondering, "What's going on? This is like
killer stuff." You feel like it should have been on
Rubber Soul or something like that, you know?
We found it through TAXI, by the way. And then
all of a sudden within one month, we got the
band in a Steve Carell film, and also in a Jonah
Hill film. So it's like why did that happen, right?
Why is it that we pitched it for two-and-a-half
years, nothing at all? The planets didn't line up.
The director maybe liked it, the producer didn't.
Maybe the film didn't test well, and they ended
up cutting scenes, or whatever it was.
So it's a game of patience, but good music gets
licensed. And I don't really care what the lyrics
are about. What I care about is that it's a great
song. If it's a sad song, then I need to be crying
by 15 seconds into the song. Because if I'm not,
then it might not be as good of a song as you
think it is. And if it's a happy song, then I need
to be doing cartwheels and doing the happy
dance in 15 seconds.
So one side of our company kinds of handles
the vintage side of what we do, and it's really
record label-based, and we're trying to tell stories to kind of perpetuate the legacies of these
artists. The more that we can tell the story to a
music supervisor, the more emotionally
connected they are to the music, and the higher
the probability that they will license it for a
show. We have a distinct marketing-way of
doing things.

66

On the library side of our company, a lot of
times they don't have the money for a period
recording and they just need something that
feels like it was like Led Zeppelin, or feels like it
was the Eagles, or whatever it was. They don't
have too much money and they don't really care,
they just need to get something in. That's kind
of the reality; it's 11th hour-type stuff. "I need
something right now. We're on the mix stage;
what do you have?" So I brought some examples
of songs from our catalog that do really, really
well in those situations, because some of you
guys might be writing music that sounds older
and trying to submit that to libraries. So this
first one is called "Jackhammer."
[Music plays]
So that's been used in several films; it gets used
in TV shows. The guys are working in the garage
and there's music low in the background. The
instrumental gets used on Fox Sports all the
time. You know, we always, always, always need
a non-vocal mix. So there's something about
that. Clearly, the fidelity of it sounds like it's
from a studio now, as opposed to the things that
we were hearing before. But that kind of a thing
is very valid, and there's a marketplace for that.
I want to play another one. This is a modern
interpretation of a Glam-Metal song. It's called
"Drive Me Crazy." Actually, this was also in the
Adam Sandler film. They started running out of
money. So we got an old one, and we got a new
one. And again, I think the thing to focus on is
the quality of the recording-and the quality of
the song- because if you're writing music for a
library and trying to do something that feels like
Glam-Metal from the '80s, or Classic Rock from
the '60s or whatever, this is the level that it needs
to be at.
[Music plays]
I didn't realize until right now how much I like
Glam-Metal. [Audience laughter]
I actually wrote that one. I wrote that for the
library. That song gets used all the time. That
song makes over 10 figures a year. I'm sorry, it
makes tens of thousands of dollars a year is
what I'm trying to say. It doesn't make $10 million a year. I wish it did. If it did, I wouldn't be
here, I'd be in Hawaii.
I'm starting to like Stripper-Rock even more.
[Audience laughter]
And the thing is, if you're going to write for a
library, you need to try to get to this level of
sonic quality and of songwriting, because you
have to make it easy for somebody to say "yes."

Music from our company is on TV seven days a
week, and we still hear "no" 95% of the time.
That is just the reality of this business. You
know, there's kind of the creative side-"Oh,
this is fun, and I love being in the studio." And
then there's the thick-skinned side, which is
really truly evaluating sonically. "Is this good

"Music from our company is on TV
seven days a week, and we still hear
'no' 95% of the time. That is just the
reality of this business."
-Jeff Freundlich
enough for film and TV from a composition perspective? Is this really good enough? Am I
making a statement? Am I saying something in a
different way? Is it interesting? Are the hooks
there? And arrangement-wise, is the
arrangement valid for the genre of music that
I'm doing?" You know, there's no fiddle in GlamMetal, right? I'm not creating a hybrid, right?
It's a box; it's a narrow scope.
I'm still amazed that you find the time to write the
stuff and get in the studio and make it.
I don't sleep. I literally work late... maybe four
nights a week-I'm writing until one in the
morning. It's really what it takes. I started this
thing... I really could cry; I almost cried yesterday in the mentoring session. You know, we
started this 12 years ago, and we fought tooth
and nail for every single cut we got. It took nine
months. We cold-called every studio for nine
months until we developed relationships, and
now we're first call. You have got to be hungrier
than everybody else in this room. You've got to
listen more carefully than anybody else in this
room. You've got to be a better songwriter than
the next guy. You've got to be a better producer
than the next guy. And if you're not, then you
just find the team that will make this work,
because the only person that can really do it on
their own is Prince. I mean, he is really the only
guy who can write, produce and record, and do
the whole thing. And if your name's not Prince,
then go find the team to get to where this is,
because this is truly what it takes for success.
Can I ask you something? I am being mindful of the
time, and this is a little bit off the track of what
we're supposed to talk about. But I brought this up
yesterday in the Music Library Listening Panel.
There are a lot of lower tier, non-exclusive libraries
out there that are getting a ton of stuff in MTV and
reality shows, and their bar is, in my opinion, is
certainly not as high as your bar, or many of the
libraries that we work with. It's very frustrating to
Continued on page 69



Recording - October 2014

Table of Contents for the Digital Edition of Recording - October 2014

Contents
Recording - October 2014 - Intro
Recording - October 2014 - Cover1
Recording - October 2014 - Cover2
Recording - October 2014 - 1
Recording - October 2014 - 2
Recording - October 2014 - 3
Recording - October 2014 - 4
Recording - October 2014 - 5
Recording - October 2014 - Contents
Recording - October 2014 - 7
Recording - October 2014 - 8
Recording - October 2014 - 9
Recording - October 2014 - 10
Recording - October 2014 - 11
Recording - October 2014 - 12
Recording - October 2014 - 13
Recording - October 2014 - 14
Recording - October 2014 - 15
Recording - October 2014 - 16
Recording - October 2014 - 17
Recording - October 2014 - 18
Recording - October 2014 - 19
Recording - October 2014 - 20
Recording - October 2014 - 21
Recording - October 2014 - 22
Recording - October 2014 - 23
Recording - October 2014 - 24
Recording - October 2014 - 25
Recording - October 2014 - 26
Recording - October 2014 - 27
Recording - October 2014 - 28
Recording - October 2014 - 29
Recording - October 2014 - 30
Recording - October 2014 - 31
Recording - October 2014 - 32
Recording - October 2014 - 33
Recording - October 2014 - 34
Recording - October 2014 - 35
Recording - October 2014 - 36
Recording - October 2014 - 37
Recording - October 2014 - 38
Recording - October 2014 - 39
Recording - October 2014 - 40
Recording - October 2014 - 41
Recording - October 2014 - 42
Recording - October 2014 - 43
Recording - October 2014 - 44
Recording - October 2014 - 45
Recording - October 2014 - 46
Recording - October 2014 - 47
Recording - October 2014 - 48
Recording - October 2014 - 49
Recording - October 2014 - 50
Recording - October 2014 - 51
Recording - October 2014 - 52
Recording - October 2014 - 53
Recording - October 2014 - 54
Recording - October 2014 - 55
Recording - October 2014 - 56
Recording - October 2014 - 57
Recording - October 2014 - 58
Recording - October 2014 - 59
Recording - October 2014 - 60
Recording - October 2014 - 61
Recording - October 2014 - 62
Recording - October 2014 - 63
Recording - October 2014 - 64
Recording - October 2014 - 65
Recording - October 2014 - 66
Recording - October 2014 - 67
Recording - October 2014 - 68
Recording - October 2014 - 69
Recording - October 2014 - 70
Recording - October 2014 - 71
Recording - October 2014 - 72
Recording - October 2014 - 73
Recording - October 2014 - 74
Recording - October 2014 - 75
Recording - October 2014 - 76
Recording - October 2014 - 77
Recording - October 2014 - 78
Recording - October 2014 - 79
Recording - October 2014 - 80
Recording - October 2014 - Cover3
Recording - October 2014 - Cover4
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