Become A SoundCloud Master and A Master Of Your Rights On SoundCloud

Between updating their subscription plans and experimenting with more visual profiles (still in early beta), SoundCloud has been on fire lately. ComScore even recently reported that their traffic increased by 26% in one month, making SoundCloud the 8th fastest growing site in the U.S. Though it’s certainly evolved since its launch in Berlin in …

The Team Behind The Orchard Machine [Infographic]

You might know The Orchard as a global music and film distribution company but do you know much about the people behind the name? We have over 175 employees worldwide all hailing from different backgrounds, boasting different lines of expertise, and coming from all walks of life. We thought it’d be fun …

Use YouTube To Go Beyond The Music Video

Videos are by far the most engaging form of social content. This isn’t exactly a new discovery, but there’s a lot of missed potential by bands that claim to have a YouTube presence. The common misconception is that your music videos go up on YouTube and you’re done. Although MTV …

Get In On The Crowdfunding Action with RocketHub

Between Amanda Palmer and Veronica Mars, crowdfunding has proven its worth beyond the shadow of a doubt. In one year alone, global crowdfunding initiatives grew 81% to generate a reported $2.7 BILLION. Of that, music-related projects represented a very respectable $202.5 million, i.e. 7.5% of all raised funds and 4th most …

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Karaoke In Your Backyard

December 19, 2013 Marketing No Comments

karaoke_jollyholidayjamsAs a huge fan of karaoke (best idea of a good time = reserved room + mic + tacky karaoke machine with drastically unrelated South Korean video clips), I’ve often toyed with the idea of buying my own personal karaoke player. Usually, the daunting task of keeping my library updated holds me back and I focus rather on planning my next night out with Alanis Morissette’s “You Oughta Know.”

So imagine my excitement when I realized that not only did The Orchard have a vast catalogue of karaoke tracks, but that they were also available for streaming on Spotify, Rdio, Deezer and all other streaming services. A few days later, we had three new playlists on both our Spotify and Playlists.net profiles:

In them, you’ll find summer hits like “Get Lucky” and “Blurred Lines,” musical favorites like “I Dreamed A Dream” and “Defying Gravity,” and holiday classics like “Jingle Bell Rock” and “Baby It’s Cold Outside.” Even better, we’ll be updating these regularly to include the most relevant tracks for each playlist, and if we see you like your karaoke as much as I do, we’ll create more. Think Psychedelic Hits from the 70s, Timeless Classics and genre focused ones from Pop to Country and everything in between.

So pull out that hairbrush or egg beater and start belting!

King T The Great Is Still Triflin’

December 17, 2013 Artist News No Comments

kingt_stilltriflinKing T (previously known as King Tee; a.k.a. Tila, a.k.a. Roger McBride) is a pioneering Hip Hop artist from Compton, California who studied under the tutelage of Mixmaster Spade. He has influenced countless artists from all coasts, from the Notorious B.I.G. to Rick Ross. His rhyme style is crispy, and his delivery is smooth. Tila is also a car aficionado which is clearly exemplified on all his album covers, where he is either in or next to a classic automobile, and he’s sung a number of car-related songs as well. In addition, he is a liquor connoisseur and did commercials for St. Ides where he would drop verses about the beverage.

King T’s debut album, Act A Fool, was released on Capitol Records in 1988. The production was handled by the legendary DJ Pooh and Tila himself. Standout tracks include “Bass (Remix),” “Payback’s A Mutha,” “The Coolest” and “Just Clownin’” ft. MC Breeze and Mixmaster Spade. The jams continued to pop on his next project entitled At Your Own Risk released in 1990. Classic joints included the title track, “Skanless,” Ruff Rhyme (Back Again)” and “Played Like A Piano” ft. Breeze and Hip Hop Icon, Ice Cube. As on the first record, DJ Pooh did the majority of the beats. King T also worked with DJ Aladdin from the group Low Profile and Ice T’s Rhyme Syndicate, DJ E Swift from Tha Alkaholiks, and well known producer Bilal Bahsir who was also a member of The Rhyme Syndicate. It was during this time that King T began working with Juice Crew Allstar DJ Marley Marl who remixed “At Your Own Risk,” and in turn, King T appeared on Marley Marl’s In Control, Vol. II: For Your Steering Pleasure on the track “Keep Control” along with producer and MC Def Jef, The One Chubb Rock, Brand Nubian’s Grand Puba and Tragedy. In addition, he contributed the first verse as part of The West Coast Rap All-Stars for the song “We’re All In The Same Gang,” for which the mission was to stop gang violence in urban communities and curtail black on black crime as a whole. In 1993, King T put out his third and final release for Capital Records, Tha Triflin’ Album. DJ Pooh, King T, DJ Aladdin, E-Swift and DJ Marley Marl handled the production for this classic gem, which introduced the world to Tha Alkaholiks aka Tha Liks who King T mentored and who appeared on tracks “Got It Bad Y’all” and “Bus Dat Ass.” Other hits from the Tha Triflin Album included “Who Got That Fat Joint” ft. Mad Kap and Nefretitti, “King Tee’s Beer Stand” ft. Ice Cube, “Black Togetha Again” and “The Great.”

King T moved over to MCA in 1995 where he put out IV Life. DJ Broadway was behind the boards for most of the record. One of King T’s most revered tracks “Dippin,” is from this album, and shows Tila cruising in his car while enjoying the sights of the West Coast. In addition, he introduced MC Xzibit who appears along with the Alkaholiks and MC Breeze on “Free Style Ghetto.” Most notably, while recording this album, King T formed the legendary collective The Likwit Crew, well known for their rhyme style and whose members include The Alkaholiks, Xzibit, Defari, The Lootpack, Phil Da Agony, J. Wells, Styliztik Jones, Declaime, Montage One and The Barbershop MC’s. After MCA, for much of the late ’90s to the early 2000s, King T worked with MC, producer and DJ extraordinaire Dr. Dre, who was formulating his Aftermath imprint under Interscope. Tila put out “Str-8 Gone” and “Fame” which appear on Dr. Dre’s compilation, Dr. Dre Presents the Aftermath, and “Some L.A. N**gaz” off of the album 2001, the sequel to Dre’s The Chronic. He was supposed to put out his Aftermath debut Thy Kingdom Come featuring the jam “Got It Locked,” but decided that he wanted to be released from his obligations from Aftermath so the album did not come out through the label.

Since that time, King T has been on many projects whether it be his own mixtapes, contributing verses on other artists’ records such as Nas’s “Where Are They Now (West Coast Remix)” and developing new artists like Young Maylay. One of these projects, entitled Still Triflin’, is digitally distributed by The Orchard on behalf of Select-O-Hits. On it, King T continues his mastery of the microphone assisted by an all-star cast of West Coast acts both established and new, sprinkled with some East Coast flavor and produced by some up and coming beatsmiths. He immediately stakes his claim to the throne on “Tha Return” and collaborates with Compton’s Most Wanted’s MC Eiht, Big 2da Boy and Yung Gold on “Do You Rememba Me?,” reminding those who may have forgotten that Tila and his Compton comrades are still top notch when it comes to Hip Hop. King T carries the West Coast flag proudly with Mac Lucci and Brevi on “LA Kingz” and on “Soul Plate” ft. Deadly Threat and Tha Chill of Compton’s Most Wanted. Tila also gets funky with Likwit Crew brethren J-Ro from Tha Liks on “Step 2 Da’ Left” and brings the heat on “Champions,” produced by Illmind ft. Boot Camp Click and Heltah Skeltah member Sean Price and Stones Throw’s Oh No. He unleashes the troops on “Sharkz (SuWoopMix)” which he co-produced with Professor X featuring Mr. Short Khop, San Diego’s own and Strong Arm Steady alumnus Mitchy Slick and Tha Relativez. Alongside Flipmode Squad member Rampage, King T delves into the difficulties of the industry as well as the negativity from the pundits, and despite it all, both he and Rampage remain supreme. A very poignant track is “My Angel” ft. Staycee Adamz and Rapheal Saddiq where King T expresses his pain over the loss of his daughter Heaven. This personal introspection and reflection continues on “Nature” ft. C-Bo and Mathew Aaron Gadson, where C-Bo speaks on the passing of his brother, and on “A Letter 2 My Homeboyz” ft. Dresta The Gangsta, which closes out the release and where Dresta gives his thoughts on fallen Hip Hop soldiers, including his mentor, Eazy-E, Tupac Shakur and Mausberg who was affiliated with DJ Quik.

King T continues to display his lyrical dexterity today and has plans for another album soon. Make sure you prepare by listening to Still Triflin’ and the rest of his catalogue. Still Triflin’ is available for download on iTunesAmazoneMusic and Rhapsody, and for streaming on Rdio and Spotify.

This article is dedicated to Roger “King T” McBride and to the memory of Heaven McBride.

Grammy Nominations Are In… Thumbs Up to Our Nominees!

December 16, 2013 Artist News No Comments

grammy-awards-2014Greetings, fellow Orchardites.  I am pleased to announce that this year, our clients have been nominated 24 times for Grammy Awards across categories! Kitaro, R. Carlos Nakai, and Laura Sullivan will all be fighting for the title of Best New Age Album of 2014. Cécile McLorin Salvan and Lorraine Feather will duke it out for the Best Jazz Vocal Album. Other nominees include Dionne Warwick, Randy Brecker, Omar Sosa, the late Sir Colin Davis, and for the coveted Classical Producer of the Year Award, James Mallinson will be in the running.

Listen to our special 2014 Grammy Awards playlist, and scroll down to the table below to see the full list of nominees.

Drumroll, please…

… Continue Reading

Freeloader Friday: Duologue, Burial, Anthony Green, Jamall Bufford, Lightouts, HTRK, Night Panther, Max Cooper, Friend Roulette, Sharon Jones & The Dap-Kings, Carcass and Red Fang

December 13, 2013 Freeloader Friday No Comments

Duologue-Killing MoonToday is a very special Friday. Not only is our whole company gathered in New York for our yearly international get-together, but it’s also the day of our Holiday Party! Our Holiday Party is, in my un-biased opinion, the event of the year. Ok, ok, I’ll add “at The Orchard.” But that might be selling it a little short. I’ll let you find out for yourselves when we post photos and videos of the amazing things that go down. So in honor of this exciting Friday the 13th, I hereby present you with yet another fantastic selection of music to power your cold, cold weekend.

Kicking it off is one of my favorite bands I’ve seen perform live: Duologue. They’re offering their latest album in full on Noisetrade, where you can also choose to leave a donation. That’s always nice. Next up is a full stream of the album Pitchfork just named Best New Music AND Best New Track for “Come Down to Us” by Burial, followed by a live Daytrotter session from Anthony Green.

Some great track premieres follow with Jamall Bufford, who has just released his first album in three years; Lightouts, a new Rock quartet from Brooklyn; and Australian Electronic duo HTRK. Then Philadelphia-based band Night Panther offers a free download of a track that’ll remind you of all the best things Freddy Mercury, 80s Pop and late 70s Disco; talented Brit Max Cooper shares the lead single off of his upcoming album; and Friend Roulette also releases the first track from their follow up to this years’s I’m Sorry You Hit Your Head. All these offer a great variety of music, and I’ve been jammin’ to them happily as I write this post.

We close with three exceptional music videos from three top-class artists: Sharon Jones & The Dap-Kings give us another amazing animated video with “Ain’t No Chimneys In The Projects;”  Carcass give us Friday-the-13th-appropriate chills with “Unfit For Human Consumption;” and Red Fang live up to their history of hilarious and entertaining music videos with “Blood Like Cream,” featuring a guest appearance by SNL’s Fred Armisen. It’ll make you want to play this beer chugging game again, trust me.

Happy Freaky Friday everyone!

Duologue: Free album download via Noisetrade
Song & Dance out now on Killing Moon Records

Burial: Full EP stream via XLR8R
Rival Dealer out December 14 on Hyperdub

Anthony Green: Live session via Daytrotter
Young Legs out now on Moshtradamus Records

Jamall Bufford: “Silencers (ft. Magestik Legend)” track premiere via Okayplayer
Victim of A Modern Age out now on Mello Music Group

Lightouts: “Disappear” track premiere via Death and Taxes
Disappear / My My – Single out December 19 on Audible Treats

HTRK: “Give It Up” track premiere via FADER
Psychic 9-5 Club out April 1 on Ghostly International

Night Panther: “Queen Bitch” free track download via Artist Direct
Night Panther out now on Small Plates Records

Max Cooper: “Adrift (ft. Kathrin DeBoer)” track premiere via XLR8R
Human out March 11 on FIELDS

Friend Roulette: “I Guess” track premiere via Brooklyn Vegan
Grow Younger EP out February 6 on Goodnight Records

Sharon Jones & The Dap-Kings: “Ain’t No Chimneys In The Projects” video premiere via Stereogum
Give The People What They Want out January 14 on Daptone Records

Carcass: “Unfit For Human Consumption” music video via Noisey
Surgical Steel out September 17 on Nuclear Blast

Red Fang: “Blood Like Cream” music video via VEVO
Whales and Leeches out now on Relapse Records

Label Spotlight: Bristol Archive

December 12, 2013 Label Spotlight No Comments

Mike Darby Bristol RecordsThere’s nothing better than discovering new music. I thrive off it, it’s why I do what I do. And when I say “new” I don’t necessarily mean the latest, just released, new sound, etc., but rather something I like that I’ve never heard before — that could be early American Roots music or some brand new ground-breaking experimentations. I therefore perhaps spend longer than I should trying to listen to all the music falling under my remit as a client manager here at The Orchard. And something that kept catching my attention were releases on a little known record label dealing in Bristol Post Punk and Reggae called Bristol Archive.

When you think about British musical heritage, most people tend to bang on about London (The Clash, Sex Pistols, yawn) or Manchester (Hacienda, Factory Records, Stone Roses, falling asleep). All true of course, two incredible hubs for some of greatest music the world has ever heard. But when I think about it, Bristol was a massive musical and cultural influence on me growing up — Massive Attack, Tricky, Portishead, Roni Size and Reprazent, and the best Graf scene in the UK. But I don’t really know what came before it. There are always reference points of course and discovering Bristol Archive has begun filling in the gaps. Take the Reggae roots sounds of Black Roots “Bristol Rock“ (1981) and onto to the more Digi-Soul vibes of Smith & Mighty’s version of “Walk On By“ (1985) and you have a clear back drop for Massive Attack. I caught up with label owner Mike Darby to find out more.

Can you give me a brief overview of Bristol Archive and how it came to be?
Bristol Archive Records is a record label dealing in Bristol Post Punk and Reggae 1977 onwards. We aim to showcase music from the diverse Bristol Music scene and provide a historical account/document of all things Bristol that should never be forgotten. Many of the artists and releases are rare, unknown or never before released. The material has been lovingly digitally remastered from vinyl, ¼ inch tape, dat or cassette. The original vinyl releases would generally have been limited to runs of 1000 copies or less.

We would like to thank the original label owners and/or the artists for allowing us to share with you their forgotten works and provide a statement of how brilliant bands have always been from the city of Bristol and the surrounding areas. Enjoy and never forget the talented ones from the past, they deserve to be recognised and remembered. We now have two sister labels Reggae Archive and Sugar Shack.

It certainly seems Bristol had a thriving music scene from the mid-70s onwards. Can you tell me a bit more about that and how it went on to influence the next generation of musicians from Bristol?
Bristol is a very nice place to live. The student population is large and always has been which means a large percentage of visitors stay and find work. Throughout the 70s and right up until today it’s been a forgotten back water, a slow independent city (some might say the dope makes its slow, others the bohemian suburbs — Montpelier, St Werburghs, Redland and then of course the historically Jamaican areas St.Pauls and Easton). The bottom line in my humble opinion is that yes, a thriving scene but very fractured, lazy and never one to follow London but almost ‘fuck London.’ Bands have always tended to form, demo and then split up (the classic we-should-have-a-record-deal-no-point-carrying-on-then syndrome). The individuals then immediately pop up again in different line ups, with maybe different styles, lots of people playing in two or three bands (this was certainly the case in the Post Punk years). Bristol bands never toured on the independent scene until Hardcore arrived. Bristol has never had a huge Rock band — Onslaught could well be the biggest.

During Post Punk, lots of the top musicians moved to London to try and make it — most got record deals (which is interesting because they would never have been signed if they had stayed in Bristol). Most of these people have now moved back. Back home to that slow vibe, that Bristol thing, that Bass line, and so Punk moved to Post Punk through Reggae and then Smith & Mighty arrived. Bang! Bass culture, whilst always here, was the underground platform for the next generation — sound systems — warehouse parties — The Blues — The Wild Bunch get signed — LONDON comes to Bristol! Massive Attack evolve through the Wild Bunch. Tricky, Smith & Mighty get signed — but still not following London. London invented the term Trip Hop — bullshit, Bass Culture Bristol Style. Portishead and then Roni Size get signed. The Pop Group are still the kings but they are long gone, all the members joining and leaving other highly influential bands. Hundreds of bands that you haven’t heard of until now as we re-release the hidden gems that got away.

Bristol today is still massively influential on the Dubstep and Grime scene. Bass Culture is still booming via the new breed of Sound System people — Bristol is still the BASS capital of the world. The big Reggae artists Black Roots, Talisman and Jashwha Moses have all reformed and are releasing new music and touring.

What’s the best thing about running a record label?
Finding people with tapes, transferring them lovingly, digitalising them and then remastering. The thrill and excitement of seeing people’s faces when we present them with in some cases masterpieces that have never been heard before. To summarise, the pleasure it brings people.

Where do you see the industry heading?
To me it’s 1977 all over again. There are no labels, there is no money or capital investment. Anyone can do it, anyone can have a label. The only MAJOR difference is that if you want mainstream distribution then that is virtually impossible to get — that’s one of our strengths.

Interesting. I would have thought mainstream distribution is easier for small labels nowadays. Pre-digital, it was difficult for niche music to find shelf space in non-specialist stores (i.e. the majority) and the length of time a release would remain in stock was certainly very limited. In the digital era, any distributed release can be made available on all platforms with no “shelf life” constraints. In this respect, do you think re-releasing niche music is more of a viable prospect than it used to be?
I am referring to physical product CDs and vinyl, not digital. We are a record label releasing three formats so the digital side, whilst important, is only a small part. It’s virtually impossible to get a distribution and then a P&D deal whereas in the late 70s, distributors would take anything and everyone.

Thanks Mike! There are some fantastic releases lined up for 2014 including a re-issue of Andy Fairley’s Fishfood vs. Birth of Sharon and The Best of Heartbeat Records. I strongly recommend you go check them out! In the words of Geoff Barrow “Bristol Archive Records is an amazing dot to dot picture of the city’s musical history, I would recommend it to anyone who has ever been interested in why and how the sound of the city has become what it is today.”

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