Commercial Music & Sound: Top ten mistakes agencies can easily make regarding music for spots

10. “Music is only important if your brand is trying to be cool.“
But who’s not cool? Visa, one of the most conservative brands in the space won accolades for its use of the Pixies Spanish language song “Isla de Encanta” in its 2010 World Cup running man spot, not because it was cool (which it was) but because it so perfectly fit the vibe of the spot, with an energy and strength that really set the spot apart. Cool was only in the mind of the viewer.

9. “The artist and lyrics have to match perfectly with the ad or it won’t work.”
Maybe not always. The song “Pink Moon” by Nick Drake graced the ad that is commonly called the “Commercial of the decade”, the VW Cabrio spot “Milky Way”. The song has an eerie, otherworldy calm quality, which is fitting, since it’s about death and is sung by an artist descending deeper and deeper into a psychosis from which he would not recover. He died from an overdose of amitriptyline, an anti-depressant long before the song went on to win award after award as the defining track in a great campaign. Royal Caribean Cruis lines used Iggy Pop’s “Lust for Life,” a song about shooting up heroin, as a brand building tune for their commercials, earning them some finger wagging from the critical public. But the average person didn’t care. They remembered the track, sales went up and they hummed along.

8. “We have to own the song in its entirety if we want to use it.”
Or Not. Chris Brown's top 10 hit “Forever” was actually an extension of a jingle done for Wrigley's via Translation Marketing. Wrigley's apparently paid for the recording sessions for the updated re-do of the "classic" Doublemint jingle from the 1960s. The campaign also included Ne-Yo doing his take on a Big Red jingle and Dancing With the Stars "country singer" Juliana Huff's take on the Juicy Fruit jingle. Sometimes the fact that a jingle done for your brand has a life afterward can only add to the strength of the song’s positioning and cultural relevance.

7. “Music in our work can’t tackle serious issues.”
Or maybe it can. Will.i.am's release "Yes We Can” teamed artist Will.i.am with director Jesse Dylan to create a powerful anthem detailing Barack Obama’s white house run and the strength of the imagination leading it. Including almost 40 celebrities, from John Legend, Scarlett Johansson, Herbie Hancock to Nick Cannon, the song reached all across the country and drove to a deeper truth. It showed that people can very much enjoy a little serious in their escapist musical selection.

6. “This is going to be complicated.”
Not always. The 2011 Hyundai spot “New Thinking, New Possibilities” came equipped with a simple yet elegant piano track, written and performed by Vanessa James to the commercial. No million dollar budgets or long production cycles- Just a catchy piano piece for a good spot.

5. “I have to hire all the artists personally.”
Or you can work with a composer that knows what he or she is doing. Film composer Alex Heffes, for example, has collaborated with many artists, including Ryuichi Sakamoto andYasmin Levy. On the soundtrack to the Audi A6 “Manipulation” spot, Regina Spektor hums away, creating a powerful mood. Composers like Heffes and Vince Lawrence, a Chicago based film and television composer, often have the connections needed to bring character and life to your spot in ways you didn’t expect.

4. “Our Jingle is classic, we shouldn’t touch it.“
Or maybe you should. The State Farm “Like a good neighbor” mnemonic is one of the catchiest and easily memorable ones in advertising. Most brands would leave it alone. But when State Farm reached out to a new generation with a series of playful that featured hipsters invoking their State Farm agent they wrapped them with a great 8 bit techno version of the mnemonic that created a modern and kitschy appeal perfectly matching the spots.

3. “People will get the idea without sound.”
They might. The PunchDub Volkswagen 2010 Superbowl spot included Stevie Wonder, Tracy Morgan and every possible type person you could think of. It was fun and funny and built flawlessly on an old game that we all remember from childhood. It had everything it needed to resonate. Why bother with “Two Weeks”, the catchy Grizzly Bears track that accompanied it? Because it worked and created that one additional level of entertaining and memorable that brought the spot home.

2. “Music really doesn’t matter.”
Right. But taking a look through the Diet Coke Commercial that premiered on the 2010 Oscar telecast without sound reveals a very different commercial than with sound enabled. Temper Traps “Sweet Disposition” Drives the spot and keeps it from feeling like a series of disconnected stock footage pieces. And when the song picks up and flies, so does the spot. Effortlessly.

1. “This is going to be expensive.”
Or Not. Calling Slang music can connect you to a professional who can try and connect you with the right tone, the right artists and the right price for your project. Many music houses overcomplicate digital rights and placements , making them as costly as large scale campaigns. Slang can work with you to ensure that your work has musical life at a reasonable rate.

Music Licensing & Rights: Please Try to Hit a Nail on the Head While Wearing a Blindfold

Trying to find a model that ensures a profit in today's music industry is like trying to hit a nail with a hammer with your eyes closed. If you swing with a ton of force and miss, you're probably going to break your fingers, but if you hit the nail on the head, BINGO, your in. Some artists have exploited the market to create success, while other acts have been placed in the closet. Record labels are falling into a sink hole of debt trying to ring out how to make a smashing revenue in today's market. EMI last year declared that it had losses over $800million. That's freaky! Since the rise of the internet and file sharing, trafficking the use of sound recordings has only gotten more difficult. This is problematic for the record labels who seek to distribute music because it cuts out a revenue source. Downloading against the discretion of a song's owner is against the law, even though we all do it. Even when one purchases a CD, he or she has limited rights to use and reproduce the music. This is because the music is copyrighted. A copyright is used by performers, songwriters, publishers, musicians, and performing rights organizations to create revenue and starts by breaking down musical copyright into two categories: 1) a sound recording and 2) a composition. A song's copyright offers five licensing opportunities that can be generated into revenue streams. When someone or some business wants to use a song, he, she, or it must pay for the rights of use. A song creates revenue by licensing it's print rights, performance rights, mechanical rights,master rights, and or synch rights. The funds are then distributed by performing rights organizations like ASCAP, BMI, and Soundexchange to the rightful recipient of funds. Different means of song use call for different persons to be paid. Some rights call for songwriters and publishers to be paid, while other rights call for the performer and musicians to be paid. The process of appropriating funds in the music industry can make one dizzy. Luckily, the International Federation of the Phonographic Industry has created a coding system, abbreviated as ISRC, to help hit the nail on the head. ISRC stands for the International Standard Recording Code, and it is a unique code that is imprinted into a music track or video recording upon mastering. It is issued to better track the number of song plays, generate royalty returns, and prevent piracy. The code never changes regardless of where the track is used or if the track changes ownership. The ISRC is registered with download sites, digital distribution companies, and collecting societies in order to manage digital repertoire and track commerce. Nielsen Soundscan is the enterprise that identifies where a track is played so proper dues can be paid. If the track turns up on some place without its ISRC code, or with a false code, then it's a good indication that piracy may have taken place.

At Slang,we encode all of our original works with an ISRC no matter what the track issued for. Perhaps a song gets some radio play, or the track is licensed to an entertainment company to be used for T.V., film, or a videogame. Soundscan keeps track of where the song is used to reassure us that we are receiving fair play. To turn any track into a vehicle in motion, post-production work is a must but all work could be lost if the track didn't include the ISRC. Without it, the track could blow up, be pirated, and the royalty check wouldn't be enough to fill up my gas tank.

By: Jack Holland

Music and Sound:Technics 1200

If you were to walk into Slang MusicGroup on a regular day, you would pass through the office full of interns cracking jokes as they push the business in a new and innovative direction, past the vocal booth, and through a big wooden door into the control room. Newcomers often experience an overwhelming feeling at the amount of gear that neatly fills this warm and welcoming room. Immediately you realize that, despite the gold and platinum records that decorate the studio's walls, Vince and his crew are down to earth people. Perhaps it is the shelf full of collectors figurines and Star Wars fighters that line the wall, or the video game section equipped with PS3, Wii, and Xbox. Whatever it is, if you're a DJ, you will find solace in the two Technics SL-1200 that proudly sit right under the window connecting the control room to the vocal booth.

The "Tee 12's" have been the go-to turntables since their release in 1978. DJs around the world rely on this instrument to make clubs bounce every night or to hone in on their technical skills at home. With the advent of CD-turntable technology (CD-J) and programs such as Serato, the 1200s aren't used as often, but continue to dominate the vinyl turntable scene. This beautiful square-shaped beast is widely regarded as one of the most durable and reliable turntables ever produced, which explains the more than 3 million sold since its release. While most technology built in the 70s becomes obsolete in today's world, many of the original Technics 1200s are still used today and function like new. It is no wonder that the SL-1200 is on display at the London Science Museum as one of the pieces of technology that have shaped the world we live in.

Although Slang is adopting more portable methods of DJing, these twin Technics will have a permanent spot for everybody who walks in to see and to enjoy their sonic superiority.

by Thomas Beckman

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Slang Music Group launches Free House Music Ringtones iPhone App!

House Music junkies rejoice! Finally, you can enjoy excellent quality House Music Ringtones on your iPhone from one of the fathers of House music, Vince Lawrence.

You can download the application "HOUSE MUSIC RINGTONES" for free and have immediate access to four free house music ringtones. You then have the option to pay $1.99 for 21 more original ringtones in addition to future access to additional libraries of future house music ringtones from other founding fathers of the genre. For anyone who ants an easy way to bring the Chicago House Sound to thier Iphone..

Check out our promotional video: http://www.youtube.com/watch?v=W51M62s6TXU
Support House Music and Slang Music Group by passing this link along!
http://bit.ly/slangmusic

Music & Sound: Pop Music is House Music

By Thomas Beckmann

It was the early 1980s in Chicago, Illinois and a new wave of music was emerging with a force equivalent to that of the ancient Roman Empire. Within a matter of years, House music conquered clubs worldwide and began to influence the type of music we have all come to identify as modern-pop.

Combining elements of funk and soul-infused disco and the advent of new synthesizers and drum machines, House music catered to African-American, Latino, and gay communities beginning a domino effect that would eventually hit every major city and community in the United States. The up-tempo feel with a punching kick drum on every beat became the recipe for viral dance music and full body liberation in clubs worldwide. House music’s message was simple: a celebratory expression of dance, love, and sexuality.

Upon its inception in Chicago, house music was not initially distributed to the mainstream commercial market. Only select music stores such as Importes, Inc., State Street Records, JR’s Music Shop and Gramaphone Records supplied the original 12-inch vinyl. The advent of drum machines and mixers provided the necessary boost to propel simply disco music into the new house genre. The first house record pressed and sold to the general public was “On and On” (1984) of which Slang Music Group’s Vince Lawrence had an integral part in producing. After this release, DJ’s citywide began producing records that contributed to the rapid growth of this genre. In a matter of years, Detroit, New York City, Miami, New Jersey, and the UK adopted this trend, which in turn, continued to grow internationally.

Today, house music and pop music genres are more similar than ever. Artists such as Justice and David Guetta have contributed to a new emergence of house music in the pop genre. The aforementioned artists not only represent a new trend in the fusion of pop and house music, but they represent the international influence that house music has had. A musical trend that began in teenage basements, changed clubs in Chicago and has evolved into new genres and emerging global artists from France and around the world.

808 Love

One of the most revolutionary contributions to modern music since the electric guitar is the Roland TR-808.

First introduced to the market in early 1980, the Roland TR-808 began a new style of music around its revolutionary drum machine. Despite its notorious reputation for not sounding very much like a real drum kit, it set a new standard for music beats that would influence everything Including New Wave, Industrial, House & Hip-Hop genres. Introduced by the Roland Corporation in early 1980, it was originally manufactured for use as a tool for studio musicians to create demos. Like earlier Roland drum machines, it does not sound very much like a real drum kit. Indeed, because the TR-808 came out a few months after the Linn LM-1 (the first drum machine to use digital samples), professionals generally considered its sound inferior to sampling drum machines; a 1982 Keyboard Magazine review of the Linn Drum indirectly referred to the TR-808 as sounding like marching anteaters. However, the TR-808 cost US$1,000 upon its release, which was considerably more affordable than the US$5,000 LM-1. Despite these cut-downs, the “808” became the staple sound for the emerging New York hip-hop culture and allowed for further development of house music, which has taken over the club music scene worldwide.

The Roland TR-808’s footprint has been synonymous with great urban music since its inception, with artists such as Blaque paying homage to it in ‘808’s chorus: ‘ ‘Cause I’ll be goin’ boom like an 808.’. The TR-808 was discontinued, in the mid 80’s but its sound again became popular, mostly due to its kick drum sound, which could produce very deep sub-bass. By the end of the 1980s, the TR-808 was popular within the most popular electronic music and hip-hop genres. Across the board, the Roland TR-808’s footprint has been synonymous with great urban music, with artists such as Blaque paying homage to it in ‘808’s chorus: ‘ ‘Cause I’ll be goin’ boom like an 808.’ Kanye West’s Recent album “808s and Heartbreak” is another clear example of the machines posthumous relevance. As with many analogue electronic musical instruments, a great deal of effort has lately been put into sampling the sounds of the TR-808 for use in modern devices; however, due to the nature of analog circuitry, the result is often considered unsatisfactory and can sound unduly static and digital artifacts. Demand for the real 808 sound is so great that street prices for a used TR-808 have stayed close to what the cost of a new TR-808 was upon its initial release in 1980 when adjusted for inflation.

Other famous users include Marvin Gaye, Thomas Dolby, The Beastie Boys, Orbital, The SOS Band, Download, Run DMC, Aphex Twin, LL Cool J, 808 State, BT, Bomb The Bass, Janet Jackson, The Prodigy, Faithless, Skinny Puppy, Bushflange, Jimi Tenor, A Guy Called Gerald, , Dr. Dre, Jimmy Edgar, Jimmy Jam & Terry Lewis, Freddy Fresh, Richie Hawtin, Jean Michel Jarre, Cocteau Twins, Luke Vibert, LL Cool J, Ice Cube and Puff Daddy.

Click Here for videos explaining the basics of the Roland TR-808.

>Click Here for a pdf file of the user manual.

“The Roland TR-808 has been instrumental in Slang Music Group’s music making process since 1983.” –Vince Lawrence

Recording Studio News: Slang Records and Mixes New CD To Honor Military at Christmastime

Proceeds to Benefit Wounded Warrior Project
online at www.SoldiersChristmasProject.com

For Immediate Release

Slang Music Group is proud to have been the chosen studios for the production of the recently released “Soldiers Christmas Project,” (SCP) an 11-cut collection that honors our military through readings of poems, traditional songs and original instrumentals. SCP is a proud supporter of the Wounded Warrior Project. The video supporting the reading of "The Night Before Christmas" is being released today in concert with the CD and is posted on the CD's Web site,www.SoldiersChristmasProject.com.

"I think that the project is a noble effort performed by two individuals who are truly giving,” said Slang founder Vince Lawrence. “SCP Producer Joe Cantafio's continued dedication, along with Executive Producer Paul Brian's, to this cause is inspiring to all of us here at Slang Music Group."

While, Vince and the team a destination for electronic music makers of every genre, but lately, holiday music has been no stranger to the Slang studios as they originated and produced the main theme for “A Christmas at the White House”, Oprah Winfrey’s holiday special. The Harpo Studios broadcast recieved some of the highest ratings this decade. .

“I think that when we stepped up to become a part of the Soldier’s Christmas Project, we showed yet another facet of our broad capabilities,” continued Lawrence. “I encourage all of the fans of our group to check out this new CD. It’s not only great for the holidays, but it benefits military that have been wounded in battle. Nothing could be more honorable—and nothing could be better than to help them out. That’s why Slang got involved. It’s just great to give to others in need.

With Christmas immediately around the corner, the work of Chicago-based Paul Brian and Joe Cantafio and their Soldiers Christmas Project CD, will benefit the Wounded Warrior Project (WWP), a non-profit organization offering programs and services to assist injured veterans during their recovery and rehabilitation.

Chicago radio and voice acting legend Paul Brian envisioned the project while hospitalized with the flu in early November. Taking on the role of Executive Producer, Brian has moved forward at breakneck speed to the point where it can now be either downloaded on the Internet atwww.SoldiersChristmasProject.com or ordered online at the same Web site. Cost is $9.99 for the entire album of 11 selections or $1.29 for each individual cut. The collection is also available on eBay as an album only.

“Anyone else would have thought us crazy to pursue a project like this, but most of us have a military background, so doing the impossible on a crazy timetable isn’t an unfamiliar concept,” said Brian. “If it wasn’t for the quick cooperation and professionalism of Vince Lawrence and the Slang Music Group we would have never been able to pull this off. That the CD was going to help benefit the Wounded Warrior Project made it extra special for us—and for everyone at Slang. They were awesome.”

Cantafio, leader of the 101st Rock Division Band that has entertained troops from Iraq to northern Africa and “anywhere else they’ll have us” brought his amazing guitar talents to the mix and the rest, as they say, was magic.

“Paul’s readings of poems that many of us have read on the Internet took on a very special meaning to me as I played guitar,” said Cantafio. “We knew that supporting the Wounded Warrior Project would be a wonderful way to honor America ’s bravest and those who have sacrificed so much.”

Brian serves on the Board of Directors for Operation Homefront Illinois and also the Grassroots Civilian Advisory Board for the Chicago Battalion of the United States Army Recruiting Command (USAREC). Cantafio is a Gold Star family member, is constantly active in military and veteran affairs and is the Executive Director of the National Veterans Museum .

-end-

Letters: Holiday letter from JQ

Happy Holidays! To Vince Lawrence and Slang Music Group.

A year and a half ago, I was an artist sitting at home typing out my rhymes on my laptop. Now I'm proud to say I've had a single play on major radio stations across the country, a mixtape (The Official Burbetto Mixtape) hosted by DJ Khaled and DJ Drama with over 10,000 web pages on Google Search, and 10 other records I feel could propel my career to the next level. None of this would have happened without Slang Music Group!

The time and effort Slang Music Group puts forth to its clients and their music is respectable. Each record is treated as its own life and expected to live up to its fullest potential once in the Slang system.

I have been to many other studios, including some of Slang's biggest competitors in the Chicagoland area, and not seen the care for clients or the expertise that I see present in Slang's staff - most specifically top engineer Brian Gaynor. Vince Lawrence has 25 years of mixing experience and IT SHOWS. I feel blessed to work with such an accomplished and talented team. I hope I get the opportunity to do more work with them as we bring in the new year!

Vince, thank you for serving not only as a mentor to me for building timeless music, but for taking me under your wing in the industry. I really appreciate you going out of your way to introduce me to some of your contacts and being a constant supporter of my music career.

>>See No Limits. Hear No Limits.<<

-JQ

In The Studio: Local Artist Ruby Yo! Teams Up with Veteran Chicago Music Producer

Hailing from Chicago’s southside, Marilyn Camacho p.k.a Ruby Yo! , is no stranger to entertainment. Influential in her music is her theatrical background, as she is one of the founding members of Urban Theater Company, a Chicago based multi-cultural theater group rooted in the Latino community, currently receiving rave reviews for they’re show, “Cuba and His Teddy Bear” directed by Ms. Camacho herself. The show is the company’s 6th production and astoundingly Ruby’s highly impressive official directorial debut, given the fact that the show is currently Jefferson Award’s recommended. In addition, she has been on stage in numerous theatrical productions, featured in multiple national commercials, and voice-over work. Aside from theater, Ruby has been a veteran of the Chicago hip-hop scene for many years and has been seen performing at various venues across the city.

Ruby Yo! and Vince Lawrence, founder of Slang Music Group, have combined theatrics, Vince’s eclectic production, and Ruby’s seasoned rapping style and singing to form a cultural revolution of Chicago style hip-hop. This single release with a video along with a future album release will clearly move Ruby Yo! to the forefront of Chicago entertainment as she forges her way to become a triple threat. Be on the lookout for this Puerto Rican dame, she will be invading the radio airwaves sooner than later.

Hear and Add Ruby Yo! at www.myspace.com/therubyyo

Tweet her at www.twitter.com/therubyyo

Friend her at www.facebook.com/rubyyo

Music Licensing: Slang track main theme song for Oprahs upcoming primetime special, “A Christmas at the White House”

Slang Music group was recently selected by Harpo Productions to create themes for Oprah's Holiday Special As regular musical contributors for the daytime show, Slang was initially asked to submit original music for a "tenative holiday Oprah special" months ago. Our team submitted several pieces of music presumably along with countless other submissions from competing music venders.

On Friday December 4th we received word from Harpo that our track had been singled out, and would be used as the main theme song for Oprahs upcoming primetime special, “A Christmas at the White House” which will air at 9pm central time on ABC on Sunday December 13th.

After an extremely productive weekend, we have provided the Oprah team with twenty six different interpretations of the main theme that will be used through out the program. Our staff worked all day and all night to provide the quick, high quality customized music, at the direction of Oprah's Music Director. The interpretations are varied and include classical film scoring styles with full orchestra, solo acoustic & classical guitar, operatic/choral performance, patriotic, R&B and dance.

the Oprah Team was very pleased with the end result, stating that we will most definitely be more involved than ever with Harpo. He also said, “Nobody can say Slang MusicGroup is only about dance music after this! You guys did an incredible job, and this makes you look really, really good.”

We are so excited, honored, and proud to have such a major role with this historic broadcast. This is Oprahs first interview with our nations first African American President since his election in November of 2008.

We hope you’ll join us this Sunday night, along with millions of other viewers undoubtly, on ABC at 9pm.

Solange Knowles Remix (Intern’s Perspective)

Slang MusicGroup takes a simple song from any genre and changes up the tempo, beat, and rhythm to make hot dance music. This makes the artist more popular in today’s culture. Brian Gaynor, Head engineer, said that these remixes are “for marketing the single.” They can be played at clubs and other places where the regular single doesn’t fit.. Remixes of songs are very popular and help the artist reach different types of people and make more money with downloads.

I learned The Slang MusicGroup doesn’t just create remixes of popular music. They are there to help musical artists in any way they can.. If an artist needs help in advertising their music, Slang is there. Connections with radio, iTunes, street teams, videos, whatever. Sometimes the artist wants to just come in and record a new original track. Slang does that as well.

One example of this is with an artist wanting to do a music video of their song. Slang either helps the artist find the right people to produce and direct it or just does it their self.

Artists have come in wanting to create a sound that they are thinking about such as an R&B/Hip-Hop artist wanting to remix their song into a more dance club kind of song. An example of one of these artists is Solange Knowles, Beyonce’s sister.

Under the direction of noted producer and legendary house music originator, Vince Lawrence, the Slang MusicGroup team has been creating remixes for Solange. One of these remixes, I got to sit in on. Slang was remixing Solange’s song “Would’ve Been The One” off her studio album, Sol-Angel and the Hadley St. Dreams. Slang made the song more up-tempo and added a powerful drumbeat to make it more of a dance club song. This remix will hopefully make the song more popular among people that don’t like the original song hence giving Solange a wider audience.

While Vince is the head producer/remixer, he has several producers working with & helping him. These producers include Jere McAllister, Brett Owsley, Angel Alanis, and the Milk Bros. Each of them has helped create remixes of Solange for their particular audience.

Eric Ley from Milk Brothers has done two remixes for Solange and says that they are “fresh as hell.” He is all about the energy of the music and has put that energy into the remixes. He explained that he does the drums on some of the tracks and then uses the a cappella to add more to the track. Once a remix is done, he sends the demo to Vince and then Vince selects the best ideas to be submitted to the artist. These are finished in Slangs studio, adding the latest bells and whistles. In the words of Eric Ley, “Vince is my Ari Gold.” “ He really makes it happen for us, bringing our ideas to fruition.”

Angel Alanis, one of the three members from Noise Floor Crew, ran the controls for one of the remixes: “Would’ve Been The One.” He described the kind of sound as “electro house” and that “everything was changed but the vocals. The tempo, feel, and arrangement have changed.” He described the original song as “amazing” and that “we had fun with it.” The process seems to be working out great and in my opinion, the remixes sound amazing.

Julian Seidel
intern

NEW LE CONCORDE SINGLE REMIXED BY SLANG MUSIC GROUP

Chicago indie-pop juggernaut, Le Concorde, has enlisted Slang Music Group to remix the band’s forthcoming single, “The Movement of Cherry Blossom Shadows”. The “Night Shadows” version will be featured on the band’s upcoming full-length album (late-fall release anticipated). A vinyl release (12” single) is anticipated this summer. Relating the story of a fleeting springtime love set in a Chicago park, the remix of the track prominently features Sharay Reed on electric bass.

No stranger to adventurous collaborations, Le Concorde bandleader/songwriter/multi-instrumentalist, Dr. Stephen Becker, sought out noted producer and legendary house music originator, Vince Lawrence. The two clicked immediately over their passion for perfectly crafted synth-pop and vintage electronic instrumentation. “It is a huge privilege for me to work with Vince and his team at Slang,” says Becker. “The songs on the new Le Concorde album aim to not only express a mood but also to extend an invitation to dance. When it comes to crafting that invitation with unique perfection, Vince Lawrence and his team are master scientists and master magicians.”

Further collaboration and additional tracks on the forthcoming Le Concorde album are anticipated. Le Concorde recently returned from Los Angeles where additional new tracks are underway with grammy-nominated producer, David Gamson (Scritti Politti, Ke$ha, Me’Shell Ndegéocello, Maxwell, Chaka Khan, Roger Troutman) and in Chicago with engineer, Ed Tinley (Liz Phair, Ike Reilly Assassination). Previous releases have included the critically acclaimed “Universe and Villa” (March Records, 2005) and “Suite EP” (Le Grand Magistery, 2007).

For more information on Le Concorde or Stephen Becker please visit www.myspace.com/leconcorde or email leconcorde@comcast.net

DANCE MUSIC PIONEERS JERRY MCALLISTER AND SLANG MUSICGROUP REMIX “EGO” BY BEYONCE

CHICAGO – Jerry McAllister and Slang MusicGroup are proud to bring you the ultra-hot dance remix of “Ego” by pop superstar Beyoncé Knowles. “New school” meets “old school” in this remix of the new single from her album I am…Sasha Fierce – a sure bet to keep the bodies moving on the dance floor.

As a pioneer of the house music genre and a seasoned veteran of the music industry, Jere has been an integral player in the dance music scene for over 20 years. By beginning his career with the world famous DJ International Records, McAllister has perpetually been the forefront of the cutting-edge dance music scene, working with the best the house music scene offers. Jerry finds a home for his talents at Slang MusicGroup, producing an all-star remixes for the world's biggest stars.. in past months Jere has created remix magic for both Beyonce and her sister Solange as well.

Sound & Music Production:SLANG MUSICGROUP FAMILY TO ENTER “HOUSE OF DIDDY”

SINGER MORGAN MALLORY AND PRODUCER RICK ROBINSON JOIN THE CAST OF "MAKING HIS BAND"

CHICAGO – Entertainment mogul Sean “P. Diddy” Combs is at it again with another reality television series called “Making His Band,” which is currently in production. Auditions were recently held in New York, Detroit, Chicago, and Los Angeles to select contestants for the upcoming installment of Diddy’s established “Making the Band” program on MTV networks. This season, however, is slightly different than its predecessors and is more intimately attached to Combs himself. While seasons past revolved around creating a superstar band under his Bad Boy Entertainment record label, the upcoming season focuses on potential candidates vying to back Diddy himself, in Comb’s live touring band.

Amongst thousands of entrants auditioning for the chance to be on the new reality show was singer Morgan Mallory, a young artist produced by Slang MusicGroup. Morgan Mallory is a 21 year old native of Chicago, who is currently attending the world-renowned Berklee College of Music in Boston, pursuing a degree in Music Business. Morgan, a rising Hip Hop/ R&B vocalist and songwriter is currently a member of the following ensembles at Berklee: The Neo-Soul Ensemble, The Latin Jazz, Rock, Funk, and R&B Ensemble; The Gospel Ensemble; and The A-Capella Ensemble.

Producer-songwriter-keyboardist Rick Robinson has been working with Slang MusicGroup for years, and has won many awards during his tenure. A Chicago native, Rick has helped progress and develop new trends within the music industry over the last decade and is most noted for his work in soul/gospel music. As a songwriter, Rick has written for many artists which include- Bishop T.D Jakes, Syleena Johnson, Bishop Larry Trotter, Byron Cage, Beverly Crawford, Bishop Eddie L. Long, Marvin Sapp, and New Direction among many others.

Several other independent recording artists at Slang MusicGroup are moving up to the front lines of today’s contemporary music. Rapper/pop artist JQ, singer/songwriter Jana G., R&B hip-hopster Nikki Lynette, and funky house DJ Max Toymaster have been pushing the Chicago underground scene to new heights with help from Slang MusicGroup.

Toymaster to compete @ WMC DJ Spin-Off 2009

You can download the WMC 09 mix HERE!

Connect With Max

Official Website
http://www.djtoymaster.com

Official Myspace Page
http://www.myspace.com/djtoymaster

Official Facebook Page
Fb

Slang Musicgroup Remix March 2009

Max Toymaster rocks the Zentra VIP room

Zentra Night Club - February 27th

Max Toymaster rocked the VIP room at Chicago's Zentra Night Club from 2am to Close last Friday, Feb. 27th. The club was packed with a steady stream of people flowing in and out of Zentra's multiple levels. The VIP guests were in for a special treat when Jamil DeMontmorency of Slang MusicGroup and Max Toymaster distributed free Toymaster CDs, which were popular among the DJs, bartenders and patrons alike.

DJ Toymaster takes over Debonair Social Club

Friday January 23rd was an explosive night at Wicker Park's Debonair Social Club. DJ Max Toymaster brought the rhythm to a large crowd of house music enthusiasts. In the Debonair basement, the ominous red lights outlining the room gave the venue the vibe of an underground house party. the eclectic crowd, which seemed to include everyone from college-aged hipsters to working professionals, was immersed in the aura of electro-house beats which didn't die until after last call. gorgeous women, great music and tasty drinks made this a night to remember.

Slang and Jonathan Davis "Got Money"!

Korn 's famed front man, Jonathan Davis, is no new comer to the world of rap music. In the past, his band called upon the services of Snoop Dogg, David Banner, Lil Jon, and Xzibit for collaborative work. Yet, for his upcoming solo project with his new band, The SFA, Jonathan has taken his love for hip hop even further. The first single from his highly anticipated album is a tribute to Weezy F. Baby himself (Lil Wayne, to those of us who are less hip) in the form of a dark, rocked out cover of "Got Money." "I've got to keep playing," Jonathan says. "I got to write music so I don't go crazy, so I decided it would be a perfect time to do this." The track, which features Jim Root of Slipknot, is already generating a massive buzz on the internet. When the time came for the official remix to be produced, they enlisted the services of Slang MusicGroup.

“The records will be released through I TUNES and all of the other popular digital networks,” says Vince Lawrence of Slang MusicGroup, “and it’s going to be an amazing album. We’re getting an exceptional amount of positive feedback about the remixes.” Slang works for top selling acts, producing both remixes and original music. Jonathan Davis says he is planning to write more songs for the album before he resumes recording later this fall. He is working to have the disc out by the end of 2008.

Nikki Lynette African Festival of the Arts

"I haven't performed in my hometown in a year." Declared Nikki Lynette, as she walked onto the huge hip hop stage at Chicago's historic African Festival of the Arts. "Man, it feels good to perform at home." Nikki Lynette took the stage only moments after a rocking, ten member band exited. Yet, there was no lull in energy when her base driven track kicked in and Nikki began to "rock the mic." In her fifteen minute performance, she remained energetic until the end. The crowd even sang along to some of the songs that she performed from her first official release, The Hard Candy Mixtpe, Volume 1. Nikki Lynette's live performance is definitely worth catching, and her catchy songs will ring in your head for at least a few days after she's done.

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