I once had a client who was a 50 something female white rapper (all of 4ft 10") who discovered during a yoga retreat that she was actually a gigantic soul singing black man reincarnated into a little white lady. Her songs were literally titled "I'm a black man, in a white woman's body...ooooh la de da di". She received 7-8 out of 10 on the taxi feedback chart. Nuff said.

I'm sure they do get placements, and as an organization might rival any single AnR, but a real publisher will tell you what they need based on (at least their perception of) your skill set. By sheer attrition they may have made some deals...but if they claim they are the worlds Nr1 AnR that most definitely is not per-capita. The music biz is all about talent farming these days, but IMO if you have farmable talent IMO calling publishers is a better ave than going into the meat market.

I'm certainly forum.

I knew Michael Lasko from Fort Lauderdale, Florida, back in 1979. He had a nice little studio called Triad and was associated with another Remote Truck called Artisan if memory serves me correctly? So Michael is a good guy. And I've heard some good things about TAXI from others. A bit pricey perhaps but... for those fortunate enough to take a damage of that? It seems that it has worked out for some. It can't possibly work out for everyone because not everyone is going to win the lottery that we call rock 'n roll. Or wrap. Or hip hop. Wear one of those terms has to do with your analog tape head and how it's twisted. And the other one just causes flutter.

Always interesting
Mx. Remy Ann David

"...The music biz is all about talent farming these days, but IMO if you have farmable talent IMO calling publishers is a better ave than going into the meat market."

Nah. The music business is the same as it ever was. An evil bitch goddess that couldn't are less about your talent, looking for someone that it can take the most advantage of, always searching for the next "as ignorant as possible" artist that they can put the least amount of money into, and gain the most money out of, in the shortest time span as possible, where they then spit you out like old gum once you've run your course...

You're also looking at this from the classic "record deal" POV. Taxi is more than that. They get artists - musicians and songwriters - placements of their material in may different outlets; background music for TV shows, for commercials, production music libraries, soundtracks, along with getting the songs into the hands of established artists who are looking for material. All of these things can provide great revenue. I personally know many members who have done quite well through Taxi. Are any of them famous? Nope. Do they still get paid? Yup. And for some of them, quite well.

If you wanna be a rock star, then don't join Taxi. Get your band playing as many gigs as possible, develop your own buzz, rent a night at The Whiskey, send invites out to A&R and Artist Management companies, and let the bidding begin.... IF any of those people you invited actually decided to show up.

I also personally know Michael very well. He's a good guy, impeccable character and integrity. He's offering an alternate direction through which your music can be heard, sold, leased and published through a variety of different avenues - without you having to pre-solicit it through some coke-snorting A&R wad who likely ends up still tossing your CD into the circular file along with every other "solicited" CD that came in that week.

There are no guarantees in this business. And you'd better have a thick skin, along with a working knowledge of how this business works. If you get the right song to the right people looking for something exactly like what you have to offer, then you increase your chances of success. Michael's company offers that - a way for your song to get heard by people who can then forward it to the people who have asked for it. You can't just send any song to all submission requests. You have to give them what they ask for, and, you have to be your own harshest critic first.

Get them exactly what they ask for, put your ego in the drawer, be willing to accept critique, be willing to tweak and re-write. If you have the right song, he'll get it to the right people.

Or, you can keep bashing your head against the brick wall backstage, until your mullet caves in, convinced that you are an artistic genius, and stick by your guns and personally walk your music into record companies and publisher's offices yourself.

;)

d/