Let me tell you about my experiences with TAXI:

I am a music supervisor and have other interests, but they aren't relevant here. My first listing at Taxi as a music supervisor was for an Independent Film with a budget under Five Million. I had exhausted all of my contacts in the Indie music world, so I decided to call TAXI. I knew them from my days as an A&R guy at Warner Bros. and Epic Records, where they never wasted my time sending me shitty bands and songs. I respected them for that because virtually anyone else would've exploited the connection and sent me everything they had a piece of (a financial stake). I knew TAXI had no financial stake in the music they sent me, so they would be select.

For my film, they put out a YES/NO listing that I personally screened. I was extremely under the gun, and I appreciated the fact that they put a very specific listing together based on my criteria, and invited me in to listen to the songs myself (I'm a bit of a control freak, as they sensed.). I didn't have time to critique these songs, I wanted to come to their offices, throw some headphones on, find the few songs that could work, and rush over to the director's office to play them for him.

It was a very positive experience for me. I was impressed with the caliber of talent (even from those that clearly had a long way to grow before they could ever potentially make a real impact in the music biz.). While listening, I had so many obvious comments that I would've passed on to the band / writer, but it wasn't the right format.

For my next listing (a different film) I told them that I would like to give some feedback to the artists that took the time to submit for my film, and it led to me becoming a part-time screener for them. I graduated from Berklee College of Music, where my focus was on Songwriting, and all of my A&R gigs required looking for songs for the artists on our Roster. I was certainly well versed in what was good and what was bad about a song, and I always had a real "ear" for what was a going to be a hit, and I enjoyed the chance to share my insider knowledge with these hopeful up-and-coming artists and writers

As I was browsing a web site more dedicated to the business side of music, I found a link to this post, (not really this post but to the board). Anyone who knows me can tell you that I'm extremely publicity shy. I'm in this for the music, not the notoriety or arguing with up and coming artists and wannabe's.

I find it quite interesting that Frank went on and on about the percentage of songs that would or would not receive a critique, yet when he DID receive feedback he completely dismissed it! There is nothing wrong in someone telling you to focus your story. For those who seem to think that they already know all they need to and cannot accept honest feedback…. TAXI is probably not right for you. Was it just one opinion? Yes it was, but that opinion came from someone with REAL experience in the music industry. Can you dismiss it? Sure, that's your right, but what if you could make the song better? Do you think that once you reach a certain level, you no longer need feedback? Do you think that writers who have "made it" no longer accept feedback from the likes of Clive Davis?

I also got a big chuckle from Frank's comment to just "compare your own tunes to the great tunes you love and admit where you come up short." I love that comment. I don't know where San Marcos is, but in my world, an individual is the LAST one to recognize or even acknowledge his / her own shortcomings. That statement is either so naïve I'm scared that you put it in print, or it is eternally optimistic.

Here is my take on TAXI:
First, the $300 bucks is worth it SOLELY based on the Road Rally Convention. I've been to tons of conventions in my time in the biz, and they drew an AUTHENTIC A-List of talented executives for their panels that rivaled some of the best Industry Conventions I've ever attended. And my company has had to fork out $1,000 in many instances to cover admission to these types of things.
Second, you only get ONE chance to make a first impression with A&R and publishers, managers and agents. If you don't BLOW ME AWAY (the generic "me" for music industry) on the first try, I'm probably done with you. Wouldn't you think it was worth it to be able to get some honest feedback from people who work in the music business, who are there NOT to judge whether or not you are right for their roster, but to provide relevant feedback and critiques so that when you do get the chance to make your first impression, it's the right one? If you say NO to this, then clearly TAXI is not for you.
Third, the screeners really do give a [naughty word removed]. You should see what happens when someone finds something that they love. The rest of us are literally jealous that WE didn't get to hear it first. We are music lovers, and the people who work there really do care, and they do want to make a difference and they can probably give you more useful and applicable feedback than all the songwriting groups and bulletin boards that exist.

I would not suggest that someone sign up to TAXI and use them solely to "promote" your music, as TJ Sullivan mentioned. You are missing the point. It all goes back to first impressions. Just because you're the Shiznit in your home town doesn't mean that anyone in the industry gives a darn about you. You better be damned sure that you are ready, so why not get the feedback.

Is signing up with TAXI gonna make you a rock star? Probably not. If you're going in with that impression, you need to step back and take a realistic look at what you're doing, because that is just plain wrong, folks. TAXI is one part of an equation to make yourselves better artists, better writers and a better band. As Frank and JohnnyRock mentioned, you've got to do it all… play as many live shows as possible, write every day, get out there to local radio and try to get your music played, build a fan base and create a story. If you can't accept feedback from TAXI, just wait until you meet with a label.

I love the people who work there. They are good people and true music lovers. I think it's a shame that you (Frank) passed up on Michael's opportunity to come to LA to learn and grow and get a rare insiders look at the biz.

Closed minds equal closed doors.


[This message has been edited by Ted Lowe (edited 06-27-2002).]