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COMPANY PROFILE Mushroom Music is the largest independent music publisher in Australasia and has been in operation since 1972 with a New Zealand office opening in 2005. Its repertoire is focused on Australian and New Zealand writers and includes some of the greatest writers in these countries today. The historic catalogue extends from the late 60’s classics by Billy Thorpe and The Loved Ones through to Daddy Cool and important acts of the 70’s including The Saints, Skyhooks, Split Enz and Boys Next Door. Significant artists from other decades are strongly covered in our catalogue and we are very proud to consistently sign a new wave of talent. Mushroom Music represents major international catalogues and we also do direct deals with the international artists and their management – The White Stripes, Jack Johnson, Red Hot Chili Peppers, Polyphonic Spree, Billy Bragg, Eagles of Death Metal, Badly Drawn Boy, Lucinda Williams. With many of these deals, Australasia has been specifically excluded from a worldwide deal so that Mushroom Music can represent them here. FILM AND TELEVISION We also publish score writers - Martin Armiger, Guy Gross, David Bridie, Jen Anderson, John Clifford White, Jeremy Smith, Helen Mountfort, Richard Pleasance, David Thrussell and Stephen Blackburn. Few score writers assign their rights to publishers, apart from when they are compelled to via a film production company, so the fact that we have attracted and re-signed so many indicates our reputation and performance in that sphere. Our licensing department has been an industry leader for many years and we continue to acquire major deals to supply film and television productions in the face of some fierce competition from the major companies. We find that the genuine relationships formed over many years of working together still hold and our service is recognised. We currently supply music on an exclusive basis (ie. the producers use music from no other source) for Home & Away (over 19 years, over 4500 episodes, with screenings in scores of countries across the World) and Neighbours (240 half hour episodes per annum). These are the two flagship Australian drama series that are recognised internationally. We also supply all music to the Southern Star teen drama Blue Water High, which is in its third season of 26 episodes. These are a significant source of income for many of our composers. Over the years we have held exclusive relationships with a number of productions, including the four seasons of the drama series The Secret Life Of Us. Other exclusives to Mushroom have included Something in the Air, Raw FM, Headland, Streetsmartz and Breakers. Outside of these exclusive relationships, we have had extensive shares of the music used in other series that source music from the entire music industry, such as Underbelly, City Homicide, East of Everything, Rain Shadow, Satisfaction, Bastard Boys, Summer Heights High and The Librarian. Successful soundtrack albums from various series have resulted, via our record company arm Liberation. The most successful were the three albums from the Secret life Of Us, which sold over 100,000 units collectively. In addition to our Australian operations, we also have a fully operational office in New Zealand to cater for the needs of our NZ writers, and also to source licensing opportunities for all our composers in that territory. We are closely involved with our production company Mushroom Pictures in either a music supervision capacity, or as the sole supplier of music – over the years this has resulted in high Mushroom Music content in the feature films Chopper, Cut, Gettin’ Square, Wolf Creek, Macbeth, and the two seasons of the television series ‘Great Australian Albums’. Of recent, we have had our music included in Australian films such as Razzle Dazzle, Suburban Mayhem, Look Both Ways, Somersault, and the forthcoming Black Balloon, All My Friends Are Leaving Brisbane, Unfinished Sky and Ten Empty amongst others. We have taken our music to our sub-publishers and music supervisors internationally, resulting in uses in the international productions Gossip Girl, Ugly Betty, Cane, The OC, Grey’s Anatomy, Gilmore Girls, One Tree Hill, Teachers, The Young And The Restless (yes its true!), Scrubs, Alias, Boston Public, Charlie’s Angels II, Felicity, Buffy, Baywatch, Melrose Place, Providence, Roswell.... (all of which is done with the total consent of the writer). Importantly the use of music in film and television for both local and international broadcasts results in the generation of significant performance income via APRA, with a significant proportion of that income going straight to the composer. Our exclusive relationships give our composers access to income that no other Australian publisher can offer. The more licensing that is generated, the more money that goes into the pocket of the songwriter/composer. INTERNATIONAL REPRESENTATION To maintain a genuine representation for our writers, Mushroom Music has a network of the largest independent publishers in each international territory, including Chrysalis Music UK and USA, Fuji Pacific Japan, Universal Asia, Italy and South America, Air Chrysalis Scandinavia, Global Chrysalis Germany, Talpa Music Netherlands, Clippers Spain, Halit Music France, Gallo Music South Africa, Gulliver Music Israel, Strictly Confidential Music Belgium and Pelikan Music Turkey As well as maintaining close ties with our international catalogues and songwriters, our International Manager works to pitch our local songwriters on an international level. Being constantly in touch with our foreign publishers, notifying them of new releases and corresponding about the activity in their territory. We are also pro-active in seeking releases for our writers on foreign record labels. There is a lot of work in dealing with each country individually but if you want to ensure that your songs are properly administered, there is no option. Having active foreign publishers is important. There are so many copyrights circulating in the world today, it is so easy for things to get lost. Our system is responsive and accountable. We also have a personal relationship with each publisher and in our business, that is still an important factor. Our staff spend a significant amount of time overseas liaising with our publishers, arranging presentations and working the catalogue, as well as attending music industry conferences including MIDEM, SXSW, CMJ. ADMINISTRATION While we represent some major international catalogues, we do not have the massive volume of titles that the major publishers have to attempt to cope with. To survive as an independent publisher, you have to offer a level of service above that of the major companies. With a focus on local writers, we have the experience in dealing with their copyrights both locally and internationally. We ensure that all works are registered directly online with APRA and that we circulate new copyright & release information internationally. We are constantly researching and claiming releases for both artist albums and the use of their works on compilations. We believe we have struck the correct balance, having sufficient copyrights to be an important force in publishing without reaching a size where you are unaware of the people and music you represent. This applies to administration as much as it does to the creative areas. PROMOTION AND CREATIVE Mushroom Music’s strength is in the areas where most other publishers fall down – the creative liaison with writers and synchronisation in film, television and advertising. Our A&R and Creative staff work closely with the writers and acts signed and are available to offer songwriting advice Since 1994 Mushroom Music has been holding a Writers’ Workshop (Writers’ Bloc) at Michael Gudinski’s house in Mount Macedon (Melbourne), Palm Beach (Sydney) and Bethells Beach (Auckland). Both local writers and international guests combine in groups of 2 each day and the resulting song is recorded that day in a studio set up in the house. We maintain a regularly updated website which also links to various artists homepages. We encourage our writers to supply us with any news and information and consider this to be another promotional tool for our writers. Mushroom Music also produces a regular newsletter for our writers and compiles various samplers to encourage their song use in film and television productions and to showcase recent songs to local and international A&R heads. We also offer access to various aspects of the industry through Michael Gudinski’s involvement with the record labels (Liberation, Liberator & Ivy League), booking agency (Premier/Harbour), touring company (Frontier), film company (Mushroom Pictures) and merchandising company (Australian Tour Merchandising). WHAT DOES MUSHROOM MUSIC DO FOR A SONGWRITER? To summarise, Mushroom Music acts as a complete support network for its writers and its services include all that is listed and more, depending on the specific needs of the writers and bands. It aims to generate income from any source available creating greater income for the writer. Having a publisher on board increases the opportunities for writers to pursue their craft as songwriters. Efficient administration then ensures that this income is properly collected and divided amongst the particular members. ADMINISTRATION Collection of income Income from single and album sales Performance income Foreign income Licensing/synchronisation income Print income Miscellaneous income (ie lyric reprint) Cross checking income against charts/sales Registration of Material World-wide registration of songs written including correct writer splits Sub-publishing worldwide Collecting income from all overseas releases Collecting performance income from film and television screenings and foreign tours Negotiation of full length sub-publishing deals for various territories Specialised, independent advice on each territory’s music market OTHER FUNCTIONS A&R A&R advice on demos, recording, touring and general representation of writers interests International tour support and networking contacts when travelling and working overseas Samplers created for overseas to generate international music industry interest Music Licensing Our Licensing Department works specifically to increase the use of our music in film and television, advertising, corporate videos, etc (at the writers discretion) Unlike any other publisher we have licensing departments in Melbourne, Sydney and Auckland. Samplers created for overseas and local use Creative Arranging co-writes, covers and our various writers workshops Pitching your songs to both local and overseas artists and labels Source of ideas and suggestions for ways to exploit the writers songs which are sympathetic to their needs Advice on where to/how to/what to demo Advances Potential financial assistance for touring, equipment, promotion and demos by way of recoupable advances General Support An extra point of contact working in conjunction with the record company WHAT THE SONGWRITERS HAVE TO SAY I’ve been happy with this relationship for 25 years. They have been straight up and regular with all accounting and requests. Furthermore they work hard to make the most of opportunities that come up for my songs. What more can you ask from a Publisher? Neil Finn When I first started in this industry, four points instantly became clear: 1. The vast majority of bands are in it for the music. 2. The vast majority of the rest of the industry are in it for the money. 3. There is a lot of money to be made in this industry. 4. The musicians are going to see fuck all of that money. We met with publishers, and never got much out of the experience except a free lunch, which is really nothing to sneeze at when you're a musician, (see point 4). So we decided to hold off on signing our publishing until the right publisher came along. Someone who was in this for the music. Well, okay, as well as the cash too. We met Linda Bosidis, and knew right away from the first free lunch that this was our team. It seems to me that a lot of people in the industry forget why they started this business, and that is because they love music. Over the years in the music industry, you learn how to pick the people that do it for the love. I'm happy to say that there's more than I originally thought. And Mushroom are about as genuine as it gets. Stu MacLeod (Eskimo Joe) In the murky and sometimes totally logic-defying world of music publishing, Mushroom stands out like dogs balls for it's ability to actually make a real contribution to their artists careers - firstly they are very well connected within the local TV and film industry which makes repaying publishing advances a reasonable expectation rather than a fantasy, and secondly they actually enjoy bringing like minded people together to help facilitate songwriting, production, label, and management relationships. Lovely people - can't recommend them highly enough, plus they don't scrimp on the odd free lunch...which, lets face it, is pretty bloody important. J. Walker (Machine Translations) I love working with Mushroom. It feels like a big, ol’ happy family. They don’t bullshit around. I love their nurturing spirit. When we needed help they came to the rescue. There’s nothing more conducive for an artist than someone who believes in what they do. The people at Mushers have opened my eyes. I see how hard they work and I instantly stop whinging. Thanx MM. Adalita (Magic Dirt) I have nothing but praise for the good people at Mushroom. They have helped me in numerous ways since our relationship started. They have worked hard to secure many opportunities for me over the past 4 years and I would recommend them to anyone thinking of signing a publishing deal. First class operation indeed. Ashley Anderson (Katalyst) Mushroom Music Publishing have been a feast of support for a homeless group of terrible musicians, being us, The Nation Blue. We emerged from the backwoods of Tasmania and upon finding ourselves on mainland Australia, we never thought that we would have any contact with any of the population here. Imagine our surprise when we encounter Mushroom and the amazing team of brilliant and supportive people who occupy the highest peak of what is otherwise a baron and foreboding place to us three inbred half-wits. They have been our lifeline in times of hardship and have supported us in every step of our treacherous journey. We, in turn, have provided them with largely un-listenable and oft-times offensive material that they have graciously accepted and converted into opportunity that has kept our band alive and provided us with amazing experiences. We trust no one who ain't directly related to us, except for Mushroom Music and it is a relationship that we treasure and one that has allowed us to complete pretty much every major project we have embarked on. Thankyou Michael, Linda and Sarah!!!! Tom Lyngcoln (The Nation Blue) In a previous life my songs always seemed to go on holiday, perhaps to the beach, where they found a bucket and buried themselves in the sand, never to be seen or heard from again. Not now. Not since I signed to Mushroom Music. Now they grace stage and screen, their names up in lights, cavorting around the globe, partying through the night with the rich and famous, allowing me to stay at home in Brunswick and write some more, which is what I love to do. Walking into Mushroom is what I always imagined walking onto the set of a Robert Altman film to be like. I'm sure the director and the producers are somewhere but all I can see is that there are no leading actors, it's an ensemble piece where there's nothing scripted and everyone bounces off each other. Where there’s deals to be made, business to attend to, music to be played, laughs to be had. It's a great environment that I love slipping in and out of occasionally. Everyone is so welcoming and generous and full of beans that it's incredibly inspiring. I want to give them great songs, partly because I know what they can do with them, but also because I simply want to impress these people. That's an impressive thing to realise, me thinks. Thanks Mushroom Music. Many thanks indeed. Chuck Jenkins Most musicians quite rightly view record companies and publishers as one big vile monolith that endeavors to befriend them before sucking the guts out, discarding the lifeless carcass and then pooing on it. But on a cheery note...there is hope! Mushroom Music have embraced The Anyones, stroked our songwriting ego, boosted our confidence, provided us with our only significant source of income, assisted in procuring us a record deal, socialised with us, procured us a manager and help facilitate our recent tour of the USA. In other words nuthin! (We don't want it to go to their heads). If you were told one day that your adopted family were Mushroom Music you wouldn't bother looking for your birth parents. Steve Pinkerton (The Anyones) Well, I haven't written the hit yet, but Mushroom have delivered their end of the bargain. The earnings from TV pay the bills for the band, we are able to tour and record thanks to the publishing. No-one at Mushroom has ever even hinted that we could achieve chart action by changing our direction. Cheerfully, they set about working with the music we provide them. It is a constant source of amazement to me. Here I am, in bed with the music business, and I feel fine. I must be dreaming. Tom Kristensen (Love Me) As a young Green Horn Rock and Roller in '87 I didn't really quite understand the real value of signing a publishing deal with Mushroom Music, but as a songwriter I'm so glad I did. It's been rewarding for me on many levels, and I feel fortunate and grateful that Mushroom Music has continued to help and support me in my musical adventures. Thanks a million. Dom Mariani (The Stems) Our first album perhaps didn't sell as many copies as our record company would have liked. However, Mushroom Music recouped both our publishing advance and recording advance for the first and second albums, through synchronisation alone. Chris Arkley-Smith (Frontside/The Calculators) The thing about MMP is that not only do they care about music - they will talk to you about songs and ideas and come to shows and listen to demos and be interested and supportive - but they also get your songs out there, and that actually gets you money. For a band like us who have hardly sold any records, being on the telly and a film or two means that we will probably recoup our recording advances just from publishing. (I have no idea what it means for those that actually sell records but I'm sure it's good news). So we can't believe our luck at being signed to Mushroom, thank you Linda! Xx Matt Davis (Gersey) Mushroom Music has and continues to be our greatest lifeline in surviving this business. A bunch of great friends who continue to listen and support us in our usually outrageous requests...whether it's buying a new piece of equipment, support for overseas ventures or just a chat. Simple pleasures. Invaluable. Thanks. Heinz Riegler (Nightstick/Not From There) Mushroom Music has been a consistent foundation to my songwriting career, for twenty years. As a publisher Mushroom works my songs creatively which is crucial in such a competitive market. Mark Seymour A thought on MUSHPUB... Publishing isn't usually thought of as the glamour end of the music game & I am sure it remains a bigger mystery to most than the possibility of the virgin called Mary... However when I think back over all of my erratic adventures in the world of pop music it is quite remarkable how much affection I hold for the mothership of MUSHPUB. For me it has been a constant in a business not famous for it's stability.... or loyalty... The company will no doubt bamboozle you with it's own PR blurb.. They are good at that! In my humble experience they are also the best Publisher I have ever come across - or is that come across for? No matter how much I may enjoy poncing about in my occasional guise of ' rock'n'roll animal....... If truth be known I only stick around in the absurdity that is showbiz because I like a good tune...... Could well be the reason that I'm still with Mushroom Music & they with me. Chris Bailey (The Saints) When I signed with Mushroom Michael Gudinski took the opportunity to say a few kind words, the crux of which was that I had only signed with mushroom because nobody else would have a bar of me. This was partly true (the bit about me having no choice) but even at the embryonic stage of my relationship with mushy it was plain to see they cared about music. They have respect for the boundaries of individual artists (when selling tunes) as well as an excitement about the processes involved in creating music, and they’re a likeable enough bunch I suppose. Ross McLennan (Snout) Everything changed when I got involved with MMP. I'd had some success as a songwriter but I still wasn't sure where I was going or how I was going to get there. With my fellow band members I went looking for a halfway decent publishing deal, and met with reps from every publishing group in town. Nobody seemed quite sure what to do with a stubbornly disorganised and mostly part-time band called Machine Gun Fellatio. Then we met with Linda Bosidis from MMP. She seemed to understand what we were trying to do a whole lot better than we did. She was also genuinely interested in the music more than anything else. And she single-handedly forced a whole swag of people to get acquainted with MGF. Suddenly we were being offered record deals, not just from the independents but from the majors as well. Simply because the people at MMP were out there every day pushing for us. Apart from promoting us heavily with record companies, film and tv productions, etc etc etc, MMP has provided some very cool extras. They've given me access to music and facilities that otherwise I wouldn't have had. And in particular, they've given me the opportunity to collaborate with a wide range of singers, songwriters and musicians. I suspect that signing with MMP was the one smart move I've made in a musical career full of quite spectacularly dumb moves. And if I had the money, I'd buy the company. Pinky Beecroft (Machine Gun Fellatio) Pound System are well pleased being on Mushroom Music Publishing as it’s opened a lot of doors for us and has got us exposure through film and television. Having the opportunity to work with Sarah McLeod of The Superjesus at the Writer’s Workshop took us into a different sphere which is a great way of bustin’ out of any ruts or stagnant writing habits, but just as importantly it was also a good laugh. Highly recommended, this year was top value too, chewing the fat and jamming with a wider range of groovers from all vibes and tribes, nice one Mushroom. Woody & The Rev (Pound System) I’ve been writing and recording music for 15 years and have been signed to three record labels and three publishers in that time. Mushroom Music are the one company that have made me feel at home and that what I do is of importance, over and above my ability to hit the top of the charts. Believe me, I’ve seen many a writer go for the cash advance and end up disappointed when there was no one talking their language at the publishing company. I’ve just resigned to Mushroom and that’s a first!! Long live music lovers. Cameron Mckenzie (writer /producer) I am rather fond of the folks at Mushy publishing, they possess the unusual combination of being super friendly and at the same time being very very good at their jobs. I have always taken great pleasure in receiving my royalty cheques and accompanying statements telling me that a little known song of mine has miraculously earned me money from the Netherlands or Belgium or some other territory I have never visited nor known how to spell. This, because of songs being placed in tv shows that are then sold to different countries around the world. Did my first visit to Mt Macedon (2001) for the Writers’ Workshop which I was piss scared about, convinced I would be thrown out for being crap, that someone would come and tap me on the shoulder and tell me that they were terribly sorry but there had been some mistake and that I, in fact, didn’t belong there. But it was super cool. Loved it so much. I wrote 2 songs with two very nice boys and they have both already earned me money from being in the ‘Secret Life of Us’. Mushy publishing rool. Abby Dobson Up and down and round and round writing songs into the abyss...but no - there is someone listening! Signing on with satan isn't so bad...seriously, our lives have been improved by the Licensing Department of Mushroom Publishing and you haven't lived until you have met the mad head swivelling, fast talking christly- posturing publishing honcho Ian James after a couple of...but that's another story. Caroline Kennedy (Deadstar/Kicksilvers) We had no frickin' idea what 'publishing' was until the good people at MMP took a loving interest in our music, our tunes and our general well-being. In less than a year they have shopped our songs around to a whole swag of people: from important industry bods to the good folk who watch Home and Away - each one very special. For an independent band like Lazy Susan that sort of exposure is priceless. But get this......not only do a lot more people now know who we are and what we do, but in the process WE HAVE BEEN PAID MONEY. Yep, that's right, cold hard cash. Who would have thought? While the gratuitous money-making side of life certainly appeals to the collective Lazy Susan mindset, MMP understand that there is more to it than buying another beach house. So along the way they have supported and encouraged our song-writing efforts and made us feel like this whole Rock Music caper is something worth pursuing with gusto. It is indeed a marriage made in heaven. Big thanks and warm love to Bill Page for his good taste and good looks. Bravo to you all. Pete Wilson (Lazy Susan) I'm a DIY kinda guy, home-recording, mixing, mastering, do me own artwork, vids, PR puffery etc etc. Used to physically carry records around Auckland for Flying Nun in its early days, anything to avoid the machinations of the vast, lumbering and largely braindead mainstream record biz. Call me a control freak and you wouldn't be too far off the mark. Yet I will admit to being most happy to surrender some of that control to this Mushroom Music nonsense. Cos it'd be a very large pain to hafta do that collecting thing, to sell songs to the filthy bastards who make a mockery of our beautiful ballads in order to sell something, be it bread or cred, and to keep all the financial turmoil in some kinda order. So when I met Jamesy and recognised - however reluctantly! - some kinda kindred spirit, someone I could rip into with gusto and glee and who would rip back with every bit as much distorted joy, I took a punt that I could trust my precious product in his gnarled and sweaty hands. Such proved to be the case. The same applies to the short but spunky Jackie (nee Jacqui) Dennis who, being a NZer, had the home advantage. And all the others I've - mostly briefly - met over the intervening years. They're all music fans, they believe in its evanescent powers. Benighted fools but lovable, y'know... But why hasn't Kylie done an album of my stuff? Chris Knox MUSHROOM/IVY LEAGUE In this rough and tumble world of rock and roll, there’s often very little to crow about in the good news department. Sure, there’s plenty of hard luck stories. “Hard Luck Woman” for example. Tragedy. Missed opportunities. Disasters at sea (probably only applicable if you’re performing on a cruise ship or a ferry, but if you think of your band as a boat and the stage as the sea…) poorly packed taragos, misplaced ABN numbers and trousers that over time become increasingly difficult to fit in to. There’s so many of these hard luck stories heading the Rock and Roll News Bulletin. Only the names change. Instead of trouble on the Ghaza Strip there’s sporadic gunfire and scuffles on the Sunset Strip. But where are the fluff pieces? Where’s the equivalent of the story about the Panda from China being shipped to the Boston Zoo to mate with Jing Jing? What about the 4 year old who can speak fluent Latin and still loves to play with dolls? Or the pug dog with the bandanna tied hilariously around its neck riding a skateboard? Well, ladies, gentlemen…rest your TV dinners on the arm of your chair for just one minute because we at Ivy League Music have that story. That fluff piece. That bit after the weather but before “Sports Tonight”. We call it, quite simply, The Mushroom Story. We have a small record label called Ivy League and our main shtick – or interest if you will – is putting out bands who we like. 78 Saab and Youth Group mainly. Possibly not a very well thought out marketing approach, but there it is in a nutshell. In 1999 we hooked up with the very good people at Mushroom Music and worked out a publishing label agreement whereby we can sign young acts who we reckon are more than a bit of alright to publishing agreements with Ivy League Music with the full support of Mushroom. Since the arrangement began we have signed 78 Saab, Youth Group, Sounds Like Sunset, The Anyones and The Vines. We have then lauded it over them by controlling their publishing advances with a vice-like grip using the money to buy ourselves clothes, trinkets, cakes and trophy wives. The bands themselves continue to eke a subsistence living on small plots of land that we lease to them at inflated prices, growing all of our food and paying us a large amount of tax. Luckily for the bands themselves, it turns out that Mushroom Music are totally excellent. Many publishers give you a decent advance, and you (understandably) think “hooray, we’re rich and this money will never run out and now we can show all the kids that teased us at school that we may not be tougher than them, but we are in fact, bona fide rich fuck-off rock stars who will never want for anything again, ever”. What smart people who work with Mushroom know ( “People Who Sign Mushroom Deals Smart - Tests Reveal, Bosidis, Dr L.. 1999, Lancet) , it’s even better to get an advance AND recoup. What we at Ivy League (and I’m talking about the 3 corporate breadheads who run the company AND the pure-as-the-driven-snow artistes who only ever think of the music and only require only a burboun in one hand and a “new friend” in the other to be happy) particularly like about working with Mushroom is that we get to see actual income – and I’m talkin’ bout money money - coming in through television licensing and movie and ad placement. IT’S WHAT’S SUPPOSED TO HAPPEN WITH PUBLISHING. It seems so obvious, but talking to friends signed to various other publishers and having had a few disappointing experiences ourselves, it seems that making money back through publishing is the exception rather the rule. We’re not writing this because we feel we have to. It’s the truth. Sure Adrian may have hinted that if this piece is anything less complimentary Youth Group’s “Guilty” will be pulled from a harrowing courtroom scene that will change the lives of all who live in Summer Bay forever. Or that “Doctor” by 78 Saab will may not be played over file footage of Geoffrey Edelston during a story on the Swans early years in Sydney on “Talking Footy”. But in the main we’re saying all this because as publishers and people, Mushroom are the benchmark all others should try to emulate. Obviously emulating Ian James in full flight may be difficult, because it is virtually impossible to make eye contact with 72 people in a room within 3 seconds of meeting them, but that is the type of talent that makes the whole scene so right on. We really dig working with smart people who love music and helping artists make an income. Hats off Mushroom kids. You’re doing a fine job, and given all of our strict military training and the bastardisation all three of us suffered at the hands of the older cadets, we salute you. Andy Cassell, Pete Lusty and Andy Kelly (Ivy League Music) Essentially, Mushroom Music offers a motivated music staff, who are surrounded by fine songwriters and great music catalogues. The key is the energy that we put into making these catalogues alive and active – on both an administrative and creative level. |
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