Lindsay Rae Spurlock – Electric Cowgirl (single)

New release produced, recorded, and mixed at Pearl Tone!

Synthpop songtress, Lindsay Rae Spurlock is releasing her Electric Cowgirl singles next week. Here’s a preview with the track “Take Me To A Place.”

Julie Mintz – The Thin Veil (debut EP)

I was in very good company when I was asked to record the vocals for Julie Mintz‘s debut EP, The Thin Veil.  Produced by electronic music pioneer, Moby, and engineered by GRAMMY Award winner Darrell Thorp, this project has a sound that’s both classic and modern. Of course I can’t forget to mention Michael Patterson‘s excellent mixing which unified the diverse sounds in this electronic/folk gem.

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Lucy & La Mer – Little Spoon (debut EP)

It’s been 2 years in the making, but we finally get to release all 6 tracks of poppy-folk goodness with Lucy & La Mer‘s debut EP.  Most of this project was very collaborative between Lucy and her friends, but we decided to close the record with a solo track where she plays every instrument.  This song, Heaven, which was recorded and mixed in less than 48 hours, ended up being my favorite.

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Robin Thicke Verdict Sets a Dangerous Precedent for Creators


I don’t like Robin Thicke and I’m not a fan of his music. But I’m upset that he lost the recent case against the Marvin Gaye estate for supposed copyright infringement with Blurred Lines. This sets a dangerous precedent for music creators.

Composers and songwriters have been borrowing musical elements from each other since antiquity. Medieval and Renaissance composers wrote polyphonic motets based on well known chants (referred to as cantus firmus). Classical and Romantic composers wrote entire pieces based on themes written by their colleagues. And early rock-and-roll borrowed form and harmony from the 12-bar blues.

That’s why song copyright typically covered just the melody and lyrics. You couldn’t copyright instrumentation, key signatures, chords, chord progressions, tempos, time signatures, or a groove; otherwise composers wouldn’t be able to legally write anything at all. In the case of Blurred Lines only the instrumentation and groove were borrowed from Got To Give It Up. And there’s nothing wrong with that.

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