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May 7: UNIVERSAL MUSIC PUBLISHING GROUP ACQUIRES CRITERION MUSIC CORPORATION

UNIVERSAL MUSIC PUBLISHING GROUP ACQUIRES CRITERION MUSIC CORPORATION

70 Year Old Company Houses Extraordinary Collection of Pop, Country, Jazz, Hawaiian Hits

Santa Monica, CA (May 7, 2013) – Universal Music Publishing Group (UMPG) has acquired Criterion Music Corporation and its affiliated entities, the family-owned and run music publishing company that, over the last seventy years, has built one of the most extraordinary collections of pop, country and jazz hits and standards, it was announced today by Zach Horowitz, Chairman & CEO, UMPG, and Bo Goldsen, President of Criterion. The catalog features songs written by jazz great Charlie “Bird” Parker(“Ornithology”), Lee Hazlewood (“These Boots are Made for Walkin’”), Lyle Lovett (“If I Had a Boat”), Rodney Crowell (“Shame on the Moon”), Rosanne Cash (“Seven Year Ache”), Jackson Browne (“Doctor My Eyes”), and many others. It includes 13 No. 1 country hits, one of the largest collections of Hawaiian and Polynesian music, which is consistently licensed for film and TV uses, and interests in such standards as “Dream (When You’re Feeling Blue),” “Moonlight in Vermont,” “It’s a Good Day,” “Mañana,” “Papa Ooh Mow Mow,” “Let The Good Times Roll,” “Gee Baby, Ain’t I Good To You,” and “Have I Stayed Too Long at the Fair,” to name a few.

The company will relocate to UMPG’s global headquarters in Santa Monica, CA, where Bo Goldsen will continue to serve as President of Criterion.

“Over seven decades, the Goldsen family has built one of the finest collections of songs in contemporary music publishing. We are privileged that they have entrusted their legacy to UMPG. We are delighted that Bo Goldsen will continue to run Criterion as its President and work with us to write the next chapter in the company’s history,” said Zach Horowitz.

“I am excited to take Criterion into the future, under the wing of UMPG, and the great enthusiasm for the catalog shown to me by Zach Horowitz, Lance Freed, and Evan Lamberg” said Bo Goldsen.

The company’s history dates back to 1943 when music publishing veteran Mickey Goldsen joined the newly founded Capitol Records to create its publishing division, then called “Capitol Songs.” Many of the earliest publishing copyrights were recorded by Capitol’s recording artists, including Nat King Cole (“Gee Baby, Ain’t I Good To You”), Peggy Lee (“It’s a Good Day,” “Mañana”), The Pied Pipers (“Dream (When You’re Feeling Blue)”), and Stan Kenton (“I Told You I Love You (Now Get Out)”), to name a few. In 1950, Goldsen purchased the publishing assets from Capitol and started Criterion Music Corporation.

In the 1950s, the newly independent company purchased the Charlie Parker catalog, which includes 54 original songs written by the legendary jazz saxophonist and composer, including such jazz standards as “Ornithology,” “Koko,” “Scrapple from the Apple,” “Confirmation,” and “Yardbird Suite.” During this period, Criterion also acquired classics like “Let The Good Times Roll” (originally a hit for Shirley & Lee and later recorded by Roy Orbison, Harry Nilsson, Barbra Streisand and Joe Strummer, among others), “Moonlight in Vermont” (often considered the unofficial song of the state of Vermont, and recorded by everyone from Frank Sinatra, Ray Charles, Nat King Cole, Tony Bennett, Billie Holiday, Linda Ronstadt, to Willie Nelson), and “The End” (a No. 7 pop hit for Earl Grant).

In the 1960s, Criterion secured the publishing rights of the catalog of the iconic songwriter, producer, and singer Lee Hazlewood. His catalog includes Nancy Sinatra’s hit version of Hazlewood’s song “These Boots Are Made for Walkin’,” which rose to No. 1 in both the US and the UK, selling over 6 million singles worldwide and two million albums. The song has been covered by artists as diverse as Jessica Simpson and Megadeth. Other Hazlewood originals published by Criterion include “Sugar Town” (a Top 5 pop hit for Nancy Sinatra), “Houston” (a Top 11 pop hit for Dean Martin) and “Summer Wine” (the first of a series of hit duets by Nancy & Lee). A German version of “Summer Wine” by Ville Valo and Natalia Avelon was the fourth best-selling single in that country in 2007, and Lana Del Rey has also recorded a new version of the song, which was recently released commercially.

The 60s also saw Criterion acquire interests in two of the most memorable novelty tunes from the era: The Trashmen’s “Surfin’ Bird” and The Rivingtons’ “Papa Ooh Mow Mow.” Both songs remain perennial favorites for film and TV uses.

In the 1970s, 80s, and 90s, Criterion found further success when Mickey’s son, Bo Goldsen, began working with the company and added new generations of talented writers to its roster. Bo was responsible for signing Jackson Browne, and the Criterion catalog features well-known Browne favorites like “Doctor My Eyes,” “Song For Adam,” and “Jamaica Say You Will.”

Bo also signed Rosanne Cash and Rodney Crowell, two of the most respected country writers of their era. The Criterion catalog features Cash’s landmark classics “Seven Year Ache” and “Blue Moon with Heartache,” both No. 1 country hits, as well as the Grammy Award-winning No. 1 country hit “I Don’t Know Why You Don’t Want Me.” Crowell’s “Shame on the Moon” was a No. 2 pop hit for Bob Seger, and his album Diamonds & Dirt became the first country album to feature five No. 1 country singles, including “She’s Crazy for Leavin’” and the Grammy Award-winning “After All This Time.” Other chart- topping country songs in the Criterion catalog include hit singles such as Eddie Raven’s “I Got Mexico,” Dan Seal’s “Bop,” The Dirt Band’s “Long Hard Road,” Highway 101’s “Somewhere Tonight,” Garth Brooks’ “Standing Outside the Fire” and Pam Tillis’ “Maybe It Was Memphis,” to name a few. In 1996, “I Can Love You Like That,” which was co-written by Criterion writer Maribeth Derry, became a No. 1 country hit for John Michael Montgomery and a No. 3 Billboard Hot 100 hit for All 4 One.

During this time, Criterion also signed groundbreaking singer-songwriter Lyle Lovett, who went on to pen multiple gold and platinum-certified albums.

Criterion’s diverse catalog also contains some of the most popular and recognizable Hawaiian and Polynesian songs of the 20th century. Criterion’s impressive collection of Hawaiian and Polynesian standards includes the catalogs of seven members of the Hawaiian Songwriters Hall of Fame. Among these is perhaps the most well-known Hawaiian song of all time, “Tiny Bubbles,” which crossed over to pop success when released as a single by Don Ho. Criterion’s Hawaiian and Polynesian music is regularly licensed for film and TV uses, and has been featured in classic films like Mutiny on the Bounty starring Marlon Brando as well as more recent films like The Descendants starring George Clooney, among others.

Criterion also owns the theme music of many classic TV shows, including the ever-popular “The Rocky and Bullwinkle Show.” A new animated movie based on characters from the Rocky and Bullwinkle series is planned for 2014 and will feature music from the Criterion catalog.

Loeb & Loeb represented Criterion Music in the transaction. Munger Tolles & Olson represented UMPG.

About Universal Music Publishing Group

UMPG is one of the world’s largest music publishing companies and represents music in every genre from some of the world’s hottest songwriters and catalogs, both old and new. These include ABBA, Adele, Alex Da Kid, Lily Allen, Beach Boys, Beastie Boys, Irving Berlin, Justin Bieber, Leonard Bernstein, Bjork, Café Tacuba, Mariah Carey, Desmond Child, The Clash, Coldplay, Elvis Costello, The Cure, Ester Dean, Jörgen Elofsson, Danny Elfman, Eminem, Gloria and Emilio Estefan, Billy Joel, Juan Gabriel, Al Green, Axl Rose (Guns N’ Roses), Jimi Hendrix, Hunter Hayes, Imagine Dragons, Elton John/Bernie Taupin, Joy Division, R. Kelly, The Killers, BB King, Luke Laird, Linkin Park, the Mamas and Papas, Henry Mancini, Maroon 5, Miguel, Mumford & Sons, Randy Newman, Steve Perry, Otis Redding, Darius Rucker, Carole Bayer Sager, Gustavo Santaolalla, Sex Pistols, Paul Simon, Britney Spears, 3 Doors Down, Justin Timberlake, T-Pain, U2, Diane Warren, Andrew Lloyd Webber, Wisin Y Yandel, and Bill Withers, among many others. UMPG is also a global leader in the areas of Classical, Christian/Gospel, and Production Music. Additionally, UMPG plays a major role in film and TV, administering the music of Warner Bros Entertainment, Universal Studios, HBO, DreamWorks, NBC and Sesame Workshop, among others. For more information please visit www.umusicpub.com. For breaking news updates, behind-the-scenes information and photos, follow@UMPG on Twitter and Instagram, like “Universal Music Publishing Group” on Facebook, and join our social communities on Foursquare and LinkedIn.

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UMPG Press Contact

Heather Brown, Vice President of Marketing & Communications

ph: (310) 235-4870 email: heather.brown@umusic.com

January 11: The Hills Of California in GANGSTER SQUAD

Check out Johnny Mercer’s “The Hills Of California” out now in the feature film Gangster Squad.

December 11: Criterion Music Corp. From The Vault :: If Every Day Was Like Christmas

“If Every Day Was Like Christmas” is a song written by Criterion Music writer Red West, and notably sung by Elvis Presley. Released in 1966 as an RCA 45 single, “If Every Day Was Like Christmas” was backed with “How Would You Like To Be” from the movie It Happened at the World’s Fair. The song was recorded on June 10, 1966 at RCA Studio B in Nashville and featured The Jordanaires and The Imperials Quartet on backing vocals. The single reached #2 on Billboard’s “Best Bets For Christmas” survey in 1966, and returned to the chart in 1967, spending a total of eight weeks on the chart.

The song was included on the 1970 RCA Camden reissue Elvis’ Christmas Album collection, which was re-released by Pickwick Records in 1975 and by RCA in 1985. The album was certified Diamond by the RIAA in 2011 with sales of over 10 million copies.

Click here to view Criterion Music’s OFFICIAL NEWSLETTER for the week of December 12, 2012.

May 16: Kari Kimmel covers Maroon 5′s “Payphone”

Hear Kari’s version over at her bandcamp.

May 15: Light In The Attic releases Lee Hazlewood: The LHI Years: Singles, Nudes, & Backsides (1968-71)

DETAILS

Format: LP Label: Light In The Attic Release type: RSD Exclusive Release More Info:

Tracks: “Califia (Stone Rider)” – featuring Suzi Jane Hokom “The Bed” “Sleep in the Grass” – featuring Ann-Margret “Leather and Lace – featuring Nina Lizell “If It’s Monday Morning” “The Night Before” “Bye Babe” “Victims of the Night” – featuring Ann-Margret “Chico”-featuring Ann-Margret “Hey Cowboy” – featuring Nina Lizell “No Train to Stockholm” “Won’t You Tell Your Dreams” “Nobody Like You” – featuring Suzi Jane Hokom “Trouble Maker” “What’s More I Don’t Need Her” “Come on Home to Me” “I Just Learned to Run”

With his handlebar moustache and booming baritone, Lee Hazlewood was one of the defining stars of the late ’60s. Though he’s perhaps best known for his work with Nancy Sinatra (including writing mega-hit “These Boots Are Made For Walking”), Hazlewood did stunning work away from that particular glamour queen and found latter day champions in Beck, Sonic Youth, and Jarvis Cocker. Now, for Record tore Day 2012, we are kicking off our excavation of the Lee Hazlewood archives with this anthology,Singles, Nudes & Backsides, collecting the best of Lee’s solo songs and duets from his LHI (Lee Hazlewood Industries) imprint.

As a true legend of the great American songbook and a rebellious pioneer who left behind a lengthy trail of echo laden pop masterpieces, Lee’s influence continues to reverberate today. Between 1968-71, Hazlewood not only released his finest solo work, but produced numerous artists on LHI. From acid-folk and country-rock to pop-psych and soul, LHI issued dozens of long forgotten 45s and LPs. This series will include material from LHI(re-mastered for the first time from the original analog tapes), along with Lee’s output for other labels, rarities, unreleased gems, and the films of Torbjörn Axelman.

See the sleeve: surrounded by nude girls, each wearing a fake moustache, Hazlewood wears a suit, ever-so-slightly awkwardly playing the role of the ’60s playboy. Just like the picture, the songs present a man conflicted; he’s the tender-hearted romantic, the broken-hearted loser and the rugged cowboy, all in one. It’s there in the western swing of “Califia (Stone Rider)”, the loneliness of “The Bed” and the bleak beauty of “If It’s Monday Morning.” Hazlewood’s tremulous voice was made for duets (indeed, he wrote “Some Velvet Morning”, one of the greatest of all time); here, Suzi Jane Hokom, Ann-Margret and Nina Lizell play counterpart to his manly tones.

In the wonderful liner notes, written by British journalist Wyndham Wallace, the writer describes his friend Hazlewood as “a curmudgeonly, unpredictable sort at the best of times, as impatient with his own talent as he is with other people.” The Hazlewood Wallace knew was puzzled by the growing interest in him in the last two decades of his life, which was ended by cancer at age 78. That late flurry of interest saw him perform at the Royal Festival Hall in 1999, his first ever solo performance in the UK.

A natural wanderer, Lee lived a big life, fighting in the Korean War, working as a radio DJ in Phoenix, Arizona, setting up Viv Records in the ’50s, working as a big-shot LA producer in the ’60s, signing Phil Spector to his Trey Records label and prematurely announcing retirement in the wake of the mid-’60s British invasion. He didn’t: Nancy Sinatra came along, the hits started flowing and he continued producing characterful solo albums into the ’70s, which saw his move to Sweden. By 2007, Hazlewood was living in Vegas, and begrudgingly enjoying that flurry of latter-day interest in his work. This landmark compilation promises to create many more converts.

Cuts from essential albums like Cowboy In Sweden Features duets with Suzi Jane Hokom, Ann-Margret and Nina Lizell Audio re-mastered from original tapes Unreleased song “I Just Learned To Run” In-depth liner notes & unseen photographs 50 random LP copies include a limited LHI Records patch!

May 14: Congratulations Jack Allocco on your three Emmy nominations!

OUTSTANDING ACHIEVEMENT IN MUSIC DIRECTION AND COMPOSITION FOR A DRAMA SERIES

Jim Klein, Composer Pat O’Donnell, Composer All My Children

Jack Allocco, Composer David Kurtz, Composer The Bold and the Beautiful

Kevin Bents, Composer Kurt Biederwolf, Composer Chris Child, Composer Paul S. Glass, Composer Lee Holdridge, Composer David Marino, Composer Dominic Messenger, Composer Filip Mitrovic, Composer David Nichtern, Composer Bobby Summerfield, Composer One Life to Live

Jack Allocco, Composer David Kurtz, Composer The Young and the Restless

OUTSTANDING ORIGINAL SONG FOR A DRAMA SERIES

Robert Howard Hartry, Composer & Lyricist “Dust” from General Hospital

Paul S. Glass, Composer & Lyricist “One Life” from One Life to Live

Jack Allocco, Composer & Lyricist David Kurtz, Composer & Lyricist “Our Time Will Come” from The Young and the Restless

Jack Allocco, Composer & Lyricist David Kurtz, Composer & Lyricist “(I Need to) Find My Way Back Home” from The Young and the Restless

May 1: In Memoriam: Mandi Martin, 1945-2012

In 1971, MARTIN landed on the country charts with her self-penned/self-produced “Nice Girl” on Prince Records.

Mandi recorded NICE GIRL in 1971 in Criterion’s Studio.

She wrote it, sang it, produced it, and got in her car with boxes of singles, and took it to Country Radio from LA to Bakersfield, and places in between.  We knew we had a HIT!

After 40 years, I could always sing the hook!  I knew Mandi as a nice girl, and knew she blossomed into a GREAT WOMAN.  I did reconnect with her just before her passing.

ENJOY NICE GIRL

Bo Goldsen

Criterion Music Corp.

Nice Girl

March 8: Lyle Lovett Drops “Release Me,” February 28, 2012

Lyle Lovett’s new “Release Me” is his last album for Curb Records after 26 years and 11 albums. But he wants to make clear that it’s a fond farewell.

“I’m only grateful for my relationship with my record company,” Lovett tells Billboard.com, adding his decision to part ways with Curb is “just the record business. I don’t have any bad feelings about my deal. MCA Nashville passed on me; it wasn’t until… Curb took the very same project back to them that they said, ‘OK, we’ll do it.’ I do appreciate all that. The relationship’s been a good thing.”

Lovett says he wanted “Release Me,” which comes out today (Feb. 28), to be “a punctuation mark for this whole part of my career.” The album is comprised primarily of covers, “some songs that have been important to me and have been an important part of my career. Several of these songs I’ve played since 1976 and just had never recorded.” Among them are tunes by Jesse Winchester, Townes Van Zandt, Michael Franks, Frank Loesser and Chuck Berry, as well as the traditional instrumental “Garfield’s Blackberry Bottom.”

Lovett contributed two originals to the set: “The Girl With the Holiday Smile” came from a real-life 1978 encounter at a Houston 7-11 “where I met this young lady hiding out from the cops” and also appeared on his 2011 holiday EP “Songs For the Season;” and he composed “Night’s Lullaby,” which features Nickel Creek’s Sara and Sean Watkins, for a 2011 run in the Shakespeare Center Los Angeles’ production of “Much Ado About Nothing” that the three appeared in.

Lovett co-produced the album with Nathaniel Kunkel, and other guests include k.d. lang and Kat Edmonson. Lovett will promote “Release Me” with appearances on “The View” on Feb. 29 and “Morning Joe” on March 2. He’ll play an acoustic show at The Concert Hall in New York tonight before hitting the road with John Hiatt on March 7, then mix Large Band and acoustic dates during the summer.

Meanwhile, Lovett says he’s “very excited” about moving forward from Curb, but he’s hasn’t determined exactly what he’ll do yet. “I know I want to continue to write songs and to play — I want to keep my job,” he says with a laugh. “I haven’t worked out any new business relationships. What I’d really like to do is be able to make my own records, then probably affiliate with someone for distribution. We live in an age where it’s so possible to let people know you have something out, but I still value greatly the capability of the major companies to get your product where it needs to go. So I have to figure out what’s the right way to go for me, and where I’ll feel the most comfortable.” – Gary Graff (Billboard, Feb. 28, 2012)

Preview The Girl With The Holiday Smile HERE.

March 7: From The Vault

Lee Hazlewood and Ann Margret :: The Cowboy & The Lady

The “Cowboy” got to Nashville on a Friday. His plane wasn’t a direct flight from Gobbler’s Knob, Kentucky, or Chittlin Switch, West Virginia. The “Cowboy” flew in from London. (He claimed it was a business trip). The “Cowboy” was met at the airport by Donnie Owens (no relation to Buck) and Joe Nixon (no relation to Richard, though there is a rumor they have the same tailor). Donnie and Joe arrived in a new Caddy. The “Cowboy” had requested a limo, but his semi-clever associates thought a new Caddy ambulance would do well. (Funny cigarettes and bad whisky had long ago destroyed the last molecule of reasoning in their brains). So, the “Cowboy” entered the rear of the ambulance and lay on the stretcher, while Donnie and Joe hummed old Jinks Carmen rifts all the way to the hotel.

The “Lady” arrived on Saturday. She looked beautiful when she stepped off the plane. Not at all like a “Lady” who had just flown 2,000 miles. She was late. (She claimed the rains had destroyed her driveway and made her tardy). She brought an excuse written by her husband, named Roger Smith. The “Lady” and her husband registered in a hotel as Mr. and Mrs. Smith. (They claimed it was their real name).

A Harmonica player named Charlie McCoy, who doubles on a tuba, arrived at Victor Studios with some of his friends and the recording session started.

The “Lady” sang the first song alone. The “Cowboy” (who claims to be a record producer) liked what he heard, and they started another song. The “Cowboy” moved slowly out of the booth and into the studio. You could tell by the look in his eyes, that the half-dozen shots of Chivas Regal had put his ego to rest, and he was ready to sing with the “Lady.”

They sang for three nights – the “Cowboy” and the “Lady,” and the Gods were kind, and their album was finished on time. Herein, lie the results…Some good, some bad and some more.

“The Cowboy”

Listen: You Turned My Head Around

February 1: Katie Lee’s “It Must Be Something Psychological”

Check out the new ad featuring Katie Lee’s “It Must Be Something Psychological” HERE.

 
 
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