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"MsMusic" Interview

Foothill Records and MsMusic Productions

A Recording Universe You Should Check Out

“Jon Tiven is a great partner and we have a good time together. We met through PF Sloan when he produced Phil's album Sailover. Our relationship grew and we started writing a few years after that and we have now written close to a thousand songs and Yo Ma Ma was born. We are doing our third album together now and I am also singing on it. It is a creative partnership a lot of fun and high energy songs that do not easily fit into a category . We also created and expanded on my Stevie Nobody character from a song with Chris Pelcer to create Reverend Stevie Nobody and Jumpin Jack Hastag as a new creation.” --Stephen John Kalinich

Harvey Kubernik Interviews Jon Tiven for the MsMusic Productions
website about his collaboration with Stephen J. Kalinich on


Q: How did the concept of Yo Mama even begin?

A: The original germ was planted in India, where Stevie and I wrote our first song. Later, when he included it on California Feeling I realized that this was too good to let it be a one-off, so we starting writing more frequently. Then he had the idea of making a whole album of our songs, and thus the germ turned into a full-fledged virus, infecting all who it touched.

Q: know you met songwriter and collaborator Kalinich earlier this century. This disc is a departure for both of you in terms of traditional songwriting structure. And you wanted to forge a new style for your writing.

A: Well I am best-known for my soul and blues songs, having been mentored by the great Don Covay and Sir Mack Rice and then having collaborated with Wilson Pickett, B.B. King, Steve Cropper, Little Milton, Bobby Womack. There are some who are more familiar with my Alex Chilton work, as I produced the first solo recordings to be issued by him, Singer Not The Song and Bach's Bottom, I brought him back into the fore after Big Star imploded and Ardent couldn't even get a deal for Sister Lovers. And my work with greats like Jim Carroll, P.F. Sloan, and Frank Black is in yet another bag completely.

So it isn't particularly easy to characterize me by the fact that I have worked alongside the greats in at least three distinct genres of music and distinguished myself handily without sacrificing my integrity. So with YO MA MA I wanted the style of music to somehow be informed by my work in these worlds but to stand on its own, I did not want to appear to be too heavily influenced by any one. But of course I embrace all of my influences, but I thank my lucky stars that so many of them gave me their knowledge directly.

I mean, there's no way that somebody singing contemporary music that falls within the blues-influenced world isn't going to be compared to Mick Jagger, and I take that as a great compliment. But Mick got a lot of his style by listening to Don Covay as did I, the difference is that I got in IN PERSON, at his feet, as his cowriter and musical director. Which was pretty fantastic to experience and to be able to embrace.

Q: Writing songs with Stevie is a different set of muscles or approach from your usual writing process, unless I’m wrong. But explain the approach, concept and what you initially attempted or what the teaming became. I know you wanted to employ or feature more guitar than usual on your own projects.

A: Stevie pretty much gives me free reign, and I take full advantage. I have made this a motivating factor in getting better at playing all of the instruments, and initially I was concentrating more on the saxophone in fact as I was having elbow issues and getting more joy from the horn than I was on the guitar. Basically, I am a workaholic, I sit home each day when I'm not on the road or producing somebody else's record and I write music. Then I got to go into my studio and put it down, playing most of the instruments myself. At that point, I wait until Stevie sends me a lyric.

Q: What about the guitar on this disc. Are your songs written on guitar?

A: Primarily, although that varies as well. I've written on sax, keys, even harp.

Q: Explain your arrangements on this record.

A: I start with either a drum track that I've previously recorded and not found a better use for, then I throw a guitar down. I call Sally in to put her bass on, then the keys, then 3 saxes. Then I look at it and figure out what else I need.

Q: You sang lead vocals for the first time in a decade or two.

A:I'm enjoying singing in the studio for the first time ever. It's nice producing yourself when you actually are the best judge of your own limitations because that's all you hear.

Q: And, there is also an animated factor to the project. Did that present a new challenge when creating the overall sound and commercial release?

A:It was always in the back of our minds, but our animator David Masnato was really the guy who jumped the creative hurdles and made our song come to life.

Q: Why the band moniker? History of the band name.

A: Initially we weren't going to put our real names on it at all, that came when Carol Schofield of MsMusic Productions asked for it to be a double CD. It was always YO MA MA, that was the only name that ever was considered

Q: Talk to me about the initial process

A:I just do what I can, I send what I have to Stevie, and he flies into Nashville to sing his parts. Each of us has our chance to play puppet and puppet master in this group. He's lyrics, I'm music. It's an easy way to divide tasks.

Q:What happens next?

A:Then Mark Linett takes the mess we make, puts his own spin on it, and voila that's how masterful pieces get created.

Q: How did Mark Linett enter the picture and join you and Steve in the production seat?

A: Mark was always a part of this. I told Stevie I wouldn't be the singer unless we got Mark To mix it because I needed a genius to make my voice sound like somebody I'd want to listen to, and that had never been done before. We offered Mark full membership in the group at the outset but we weren't offering full medical so he could not accept.

Q: Tell me about working with this California team and this unique new collaboration. Mailing of multi-tracks via the web.

A: I love the ability to have someone as gifted as Mark Linett---and Mark, I hope you're reading this because I can never overstate his contribution to the group's sound and I think people need to know that---to be able to objectively go in and look at the work we do and put it in a unique perspective. Mark looks at these mixes COMPLETELY differently than I would, and I appreciate that. It's like, after I've played a zillion instruments on a piece of music I've written and sung three layers of vocals, I say "Enough of me, let's get some other personalities on this."

Q: The album evolved casually into a thematic work?

A: I don't know about that, I think life is thematic and you can organize your work properly to convey a message if you have the will and the time.

Q: Can you discuss a just handful of the tunes, the process and a couple of recording anecdotes. Also your home studio.

A: It's really not all that exciting, except for the internals. The party is already going on in me and the only secret is how to get that on tape, even when it isn't even tape but zeros and ones.

The home studio: Alessis HD24---no protools until mixing----with a lot of analogue gear, Avalons, Hammond M organ, Hamer guitars, Avant mics. I am the default engineer.

Q: Owing to some guest recording artists, comment on how they came to participate. For example, Brian May.

A: Brian came to visit me in the late 90s back in New York. We had a little fun with a few jams, and I try to keep things rolling when things get rolling. I had a few years to turn it into something that would be more than that. Brian and I have been friends since the early 70s, I went to London at the behest of Foghat (to cover them for Zoo World magazine) and a publicist for Elektra insisted I go interview Brian, and this was before the first Queen album had been released but I had already heard it and loved it. We became good friends and try to convene from time to time, and when we’re not in the same city the emails serve us well. He's a wonderful person, a beautiful cat.

Q: Can you comment on the involvement of PF Sloan, Steve Cropper, Chester Thompson, Craig Krampf, Willie Jones, Cody Dickinson, Billy Block and others on the selections, including your wife Sally.

A: P.F. Sloan put us together and is our spiritual brother, with a minimum of sibling rivalry.

Steve Cropper has been a great friend and collaborator of mine for many years and I try to bring him in on every project he is around for.On the next one, there's a four-way collab between Steve, Stevie, myself and Procol Harum lyricist Keith Reid. Keith and I cowrote the song "River of No Return" on Jeff Healey Band's first album that took me out of the basement halfway to the penthouse.

The drummers are my friends and I love having a selection of greats contributing to our sound. My wife Sally is a fine addition to our sound, she thumps the bass pretty hard and plays great percussion. And she knows how to put up with me, which is half the job.

Q: Explain the albums and the sub-titles.

A: That's Stevie's department, I'm not Mr. Words, he is. But I can tell you that there is no Shortcut To Infinity. The Universe doesn't work like that.

Q: How and why did the album cover artist get picked? I know there is history with Marilyn Manson.

A: Gottfried is a good friend of Stevie's so Stevie asked him straight away if he wanted to be the man in charge of our covers and he was delighted. And I'll be a monkey's uncle if his paintings don't make us seem even more important than we already are.

Q: Let’s discuss the reviews and the media coverage this album has received. Do most of them comprehend all the data and portraits of the world Yo Mama have painted on tape?

A: I think in general the press has been fair to us. I love hearing my work described with superlatives and there was plenty of that on the first record. The second record is definitely edgier, more experimental, harder hitting, and more focused. So the reviews of the next record, frankly, are going to be more meaningful to me.

Q: You and Steve have embarked on a second Yo Mama endeavor for Carol Schofield and her label. I know you had a recent writing session. Give me some feedback on the new tunes and the direction happening. And some general observations and reflections on the second album.

A: Like I said, if the last album was a complete indictment of Western civilization's shortcomings, this one more or less details the cure for all of society's ills.

Q: I wanted to address your songwriting history. Can you offer short comments on some recording artists you have been covered. B.B. King, Howard Tate, Freddie Scott. How did you first discover real R&B and blues Plus, on some levels, the tunes on Yo Mama have a link to R&B.

A: My first publishing deal was with East Memphis Music in 1975, and my "creative person" there---my musical mentor, as you might have it---was Eddie Floyd. He introduced me to his pal Sir Mack Rice, who I later produced and wrote "24-7 Man" with for Robert Cray (it was a huge record for Cray).

The first two sessions I played on were for the Rolling Stones Metamorphosis---percussion on "Going Down" and "Jivin Sister Fanny"---and guitar on a Major Lance flipside, both in 1975 as well, "You Keep Me Comin To You" (the flip of "I've Got A Right TO Cry").

From there, Don Covay took me under his wing and made me his protégé. You cannot have a better introduction to the world of R&B and blues than that.

Q: And you’ve initiated and delivered some stellar tribute albums to the likes of Don Covay, Curtis Mayfield, Arthur Alexander and Van Morrison. Can you tell me a little about these projects and the artists cited and how they influenced you?

A: Don Covay is and always will be my idol, my friend, my daughter's godfather, and the #1 musical influence in my life. Working with Don made me feel my Soul had been Sanctified.

Curtis was one of the first R&B artists I ever saw in concert, and I loved his music. He played the Superfly album right as the movie came out and I could not believe the sound he got from his guitar, so beautiful. When I approached Shanachie Records about signing my friend Arthur Alexander to their label, they asked me if I'd help them make the Curtis Tribute and I could not refuse. It was a wonderful experience to live inside his music, and I got the chance to meet him after and he told me he really enjoyed our take on his music.

I took Arthur Alexander out of retirement and put him in front of record companies in the hopes (his and mine) of getting him a deal. Unfortunately the slimy hand of record company politics prevented me from finishing the job properly and producing a great record on him, but shortly after his passing I went in and gave his music my best shot. Arthur was a sweet guy who got twisted up eaten up and spat out by the music industry. He wasn't sure he wanted to get back in, but I helped him out and it was sad to see him go that way.

Van Morrison---what can I say? A living giant, and a friend of both Stevie's and mine. I don't know him that well, but we've spent some time together and he gave me the OK to do the tribute record or else it never would've gotten made and he loved it, particularly the Bettye LaVette track.

Let's not leave out Otis Blackwell, my tribute to him was a potent little piece of rock 'n' roll and gave me the chance to work with Tony Visconti. And produce some of my favorite artists like Paul Rodgers, Chrissie Hynde, Tom Verlaine, Graham Parker, Willie DeVille---I think that's an underrated record. I blame it on the cover. One of THE worst ever. I could not believe it when I saw it, even for Shanachie it was undignified.

A Recording Universe You Should Check Out

By Harvey Kubernik c 2011

Foothill Records store in La Canada, California was started by Carol Schofield with partner, Diana Singleton

They opened the retail outlet in 2001 inside a one-story building that was built in 1959. Carol also operates & manages the truly unique MsMusic Productions company established 8 years ago which Carol and Diana began as part of their music business dream...

MsMusic is a vinyl record label that focuses on 180 gram vinyl editions, and limited 45 releases

In addition, Carol helms another music division, Citadel Records, a very active CD, classical and soundtrack CD’s, now reaching the 100 item catalog, MsMusic

In the last few years a plethora of unique CD releases have been released and distributed under their auspices: The Original Soundtrack “The Gary Plays,” A Trilogy of Plays by Murray Mednick Music Composed and Performed by Don Preston, a founding member of The Mothers of Invention.

. .

Also available is the Original Motion Picture Soundtrack “EXTRA in the background of a dream,” Music Composed and Performed by Bobby Johnston.

The film and music word is also documented by Citadel with “PRANKS,” Music Composed by Christopher Young, “Out of the Depths,” Music by African-American Composers jack Stamp conducting The Keystone Wind Ensemble,” and “Straight Into Darkness,” a Jeff Burr Film, Music composed Michael Convertino.

“ I love the area around Foothill Blvd.,” Carol told me in the fall of 2011. “It is very inspiring walking down Foothill I like the area in general, and the style of the building, That’s what motivated us originally to open the store in La Canada.”

Foothill Records reflects her personality.

Poet and songwriter, Stephen John Kalinich, who recently released an album for MsMusic Productions, “California Feeling “ Words and Music by Stephen Kalinich And Friends Featuring The Honeys, David Marks, Carl B. Wilson, Carnie & Wendy Wilson, Rachel & The Reindeerz also provides a comment on the Foothill region and Carol.

“It is a sweet little community and i find it very inspiring and exciting with the incredible view of the foothills and all the beautiful scenery,” he explains. “Songs burst out of cement here, I have been moved to o write many thoughts here that later found there way into songs and poems. This area seems so open to the Arts. I feel it here in the air all around me a sense of possibility. In many ways it reminds me of early America and new ideas can burst open. “ I love the feel of this place,” he volunteers. “After so may years on the west side i became jaded and thought it was like that everywhere but it is not that way here at least not for me. Walk down Foothill go into Foothill Records and know a label resides here with great hope an potential that is willing to carve new paths.”

Kalinich also offers an observation about Carol’s unique music store. “I love Foothill Records I love going through the records at Carol's store and finding old and new titles that I love. In vinyl and on CD. The Vinyl singles are amazing and I find many of my favorite artists.This little city tucked in the foothills is a natural place for a record label where the mountain meets the sky A small label in a town in America where dreams can still come true. “She goes beyond the realm of what i have ever experienced from any of my labels. She wants to put out records that are unique and that others may not think have a market. I feel blessed to know her and I believe she has a kind heart. I know I am not the easiest person to deal with but that does not stop her from helping me with constant new projects.”

In 1972, Carol Schofield and a friend opened an earlier record store in their then hometown in San Francisco.

In the ‘90s began a record shop called E Street Records out of her garage in Sacramento which supported and documented that local scene. Carol was a block party music promoter, including memorable bookings of Jupiter Sheep, Pride in Peril and Cake.

Carol Schofield was born in San Francisco and as a child listened to KYA and KEWB AM radio stations. Sinatra, Dean Martin. I used to raid my grandmother’s Al Jolson 78’s. I used to play those like crazy. And Disney. Davy Crockett and Micky Mouse.

In San Francisco, the music big bit and still informs Carol since she was age 8. Annette 45’s and the Pied Pipers “Dream” was a fave and still is..The Orlons, The Dovells,to name a few were early 45 RPM purchases. Another big impression was the Jan & Dean long player, “Surf City” also “Dead Mans Curve”

Carol Schofield and Harvey Kubernik interview

Q: Music has always been a part of your life.

A: Music had and has a big impact. I graduated into buying a lot of 45’s. One of the first ones going downtown to Market Street, a grab bag table where you got 50 for a dollar each. Bring them home and go crazy. Chubby Checker and Dee Dee Sharp. Cameo-Parkway, “Hound Dog Man” by Fabian ,“Party Lights” by Caudine Clark. And her follow up. Picture sleeves.

Q: In elementary school did you go to concerts?

A: No I went to catholic school. We were banned from going on Dick Stewart’s Dance Party. He did the song ‘I Believe.’ It was a local hit. KYA, KEWB were my radio stations. I went to high school in San Francisco. My life in the ‘60s was wild. I saw the Rolling Stones in 1966 when they played in town. I smoked my first joint in Junior Achievement in high school.

“I started going to concerts. We went to Long Shoremans Hall, I saw Roger Collins, who had the hit ‘She’s Lookin’ Good.’ I still have it. I also saw the Standells. I loved going to the Avalon to the Fillmore and then to Winterland. Back and forth all night. Jefferson Airplane, Janis w/ Big Brother, The Doors, The light show on stage was incredible. The fluid liquid in the light show was really cool. I liked the first few Grateful Dead albums but wasn’t a Dead head. I saw Jerry Garcia at the Keystone in 1980. That was really cool.

In the ‘60s I saw a lot of the shows. Al Kooper with Mike Bloomfield. That was so bluesy. They just jammed like crazy. It was all smooth. It was like the stoners version of smooth jazz. Saw them record the live album. I liked early John Mayall. But not really after ‘The Turning Point.’ I loved the Who shows. Cow Palace in 1973. I went to San Francisco City College.

Q: You also worked for promoter and entrepreneur Bill Graham and his Winterland Productions.

A: I worked at Winterland in 1975. I applied for a job. I got hired. I schlepped chairs, set up and breaking down, driving one of the Broncos to the airport picking up and dropping off posters and t-shirts for shows around the country. I was filling orders. The t-shirts were first started ownstairs in the basement. Peter Frampton was one of the first t-shirts. I was so sick of seeing that t-shirt. (laughs). It really burned me out and there was a point where I wanted to be a roadie.

Bill Graham was a force of nature. I was around him and later when I worked for Bill Graham Productions. He was like this guy that you knew he was in the house. You knew you had to tend to stuff. Because when he was in business he was business. It was like don’t fuck around when Bill Graham was in the house. But then he played later on. I was in the audience and had no dreams of owning a record store or being in the business.

Q: Where else did you work?

A: I had a job at the Bank Of America at Van Ness and Market in San Francisco, I worked with the musician Norton Buffalo, before he became famous as a great harmonica player with Steve Miller. At BOA,after being bored I decided I wanted to open a record store, and the saga began...

Q: Talk to me about that first record store you had in San Francisco.

A: We took over a business from a guy who had a store, Dave’s Records. Next to the restaraunt “The Truck Stop” @ Church & Market, towards the outskirts of the Castro district proper. Then I and girlfriend at the time relocated the business to the outer Mission district.

Then we changed the name to the Vault of Records. That lasted about 2years ‘Cause we were just having fun. We had no concept of a bank account or anything. We were next door to Super Music, which was the outer Mission’s answer to Don Weir’s Music City. And some of the people that hung out there included John the drummer from Flash Cadillac and the Continental Kids who was in the movie ‘American Graffiti.’ And Gary, who was the second singer in Pablo Cruise. He hung out there when they lived in the basement of Super Music. Dave, the bassist for Papa Doo Ron Ron. I then moved to Modesto and then Sacramento.

I decided, ‘What am I going to do? You can’t make any money in this town.’ So I started selling out of my garage. And I got notoriety selling records on discount. And that lead to E Street Records. I had my record store and started getting into the local band scene and promoting them. I produced shows. I put on Cake, Deftones, Jupiter Sheep, and others...

I was a part of Iron Sides, a club, and then moved into outdoor block parties. I paid the bands in music and paid each band member 200 credit and bought the band whatever they wanted to drink. I also filmed the proceedings. Then I realized after a 4th of July event, I had to look at myself and do things for myself. So I dropped out of sight and went on my own personal journey and left it all behind. No regrets.

Q: What was the next step of your evolution?

A: Then I met Diana and moved to Southern California. Then we started to get involved with selling music. Coming in and buying up collections. Then this current building came up for sale and we started a record store We bought the inventory’s of various record stores that closed.. We had a reputation and they initially wanted to sell items to us and we ended up buying up all their stock. Diana and I at the beginning were two people who always said yes.

Q: Foothill Records is now celebrating 10 years of operation. How did the visibility begin?

A: I put ads in various papers like ‘L.A. Weekly’ and in Glendale. And my website.

I felt the area needed a record store and it was a good location. And the building looked really cool. And we lived up in the foothills, so it was close.

“I always knew it would be more than just music, albums and singles. Posters always made a big impact on me. It all comes together with the territory.

Q: What have you noticed over the last few years amongst collectors and fans?

A: There’s always been a demand for vinyl. I support vinyl. I like it. It’s just part of my life. It breathes different. It has a different breath to it.

“The clientele is your typical record store group. Some guys see a box, they don’t care about the record bins. They dig through the box . Or they see a stack and dig. It’s part of the genetic makeup of guys. (giggles).

Q: Who always sells?

A: Things that everybody wants. Everybody wants their own thing. Sometimes, you know, people are seeking soundtracks, classical, some others want 45’s, some want the Beatles and the (Rolling) Stones, others want jazz, blues, soul and funk. Music people always buy a wide variety of things. It’s simply what's of interest to each person..

Q: Has there always been a relationship between consumers who enjoy books in the venue with the music, videos, DVD and CD's?

A: Sometimes people buy VHS tapes and i sell them on Amazon regularly
Yes DvD's are still very much alive. I stock them and books. I like DVD’s but I like video tape. VHS also. Because maybe one day will come when all the digital stuff is erased and we will still have it on tape. Boomers and teens buy posters Sinatra and Soul singles and a wide variety of top 40

I love cassettes. They have a distinct sound. My truck has a cassette deck. Cassettes sound cool. They had a different sound. A cool sound. I dig the hiss. And I think there’s a little more bass to ‘em. There’s a different sound for 45’s, CD’s, LP’s and tapes. I sell 8 tracks. I have some sealed ones.

Liner notes are important to me. I like information. I love the data. But on CD’s it seems like you need a magnifying glass to read some of them.

Q: How did your MsMusic Productions label relationship for with Citadel Records, the classical music arm of your operation start?

A: Enter Tom Null. He owned Citadel, which is an active record company. It was a small part of Varese Sarabande. It was soundtrack driven. He asked us if we wanted to come in and be involved in the music soundtrack to John Ottman’s ‘Pumpkin.’ It is a black comedy. (see disc). So we invested some cash and became associate and assistant producers.

Then we released movie soundtrack ‘Sonny.’ A movie starring James Franco, Brenda Blethyn, Harry Dean Stanton and Mena Suvari that has music composed by Clint Mansell. And then Tom wanted to sell Citadel. And we bought it. It was a new horizon and a new adventure. A whole new thing I wanted to do. I always wanted a record label. ‘Cause I was interested and thought it would be cool. And I have been consistently selling Citadel titles. And some do better than others. Some of it is seasonal. There are all sorts of things that go into what titles sell. Sometimes it is an album that has been out of print for many years now being available.

Q: Fill me in on the Citadel label.

A: People thought Citadel was dead. Citadel is still for the soundtracks and classical we release. I wasn’t a big classical music fan. I happened to fall into it by listening to some of the things that I had in the catalog and I became aware of what sells and what doesn’t. And the ones that sell I can appreciate by just the order that they actually get. I am still discovering classical I haven’t listened to yet. I hate to say it but I do not pay much attention to the classical records buyer. I appreciate them but don’t have an opinion. Never gave it much thought. They seem to be receptive. I send out my post cards on new releases to everyone and I get feedback and sales. The people tend to be music students who buy Jack Stamp and Lee Holdridge Things like that. I am trying to reach the classical world, especially radio.

Q: What drew you to the world of soundtracks geared for the traditional retail market and online sales?

A: I always felt the music could work independent of the movie and I knew it was a good seller. So I wanted to go where the money was. (laughs). So I went where the money was. (laughs). And I rolled with it and ran with it and that is what we did. I also knew it had credibility. And the 180 gram vinyl was going well.

Q: What next?

A: Then music veteran and mastering engineer, Steve Hoffman, came to us and suggested we do 180-gram vinyl. He could get us some catalog stuff that was available. And I realized I needed another name because I didn’t want to do it with Citadel, because it wasn’t vinyl. It was soundtracks and classical. So I used my email address at that time, which I still have, MsMusic. So my email then became the record company. So that evolved into MsMusic Productions that encompassed everything. And then we designed the label logo.

Q: Any specific reason for the design and graphics?

A: It’s just an eye, and the lashes grow into the word MsMusic. So there was a little type of psychedelic influence there. Along with poster art. Whatever you got incorporated into the logo. We had an initial distributor, and slowly acquired better distribution. But then we had the catalog on the website. We started more online. And in process started bringing things back into life.

‘Carnival Of Souls’ came out in 2002. The original master tapes were used, and Tom and Charlie Watts took out all the snap and crackle out of it throughly. I still work with Tom. (see discs). Between the two of them they painstankingly too EQ it to the cleanest filter. This is sound perfection....

Q: There’s been an increase in the sale of vinyl and vinyl-only reissues. Why?

A: I know there has been a 30 per cent increase in the sales of vinyl the last few years.

The 180 gram vinyl we do you can actually hear the difference. And when you have Mark Linett doing the mastering it breathes. It’s like I can not believe it when I hear the playback. Mark did ‘Wild Weekend ...’ All instrumental from 1962. Anyway, when I heard that played it was like the music was right there in the room.

Because it’s so pure. Mark really understands engineering. From his work with the Beach Boys to Brian Wilson to Stephen Kalinich. I met him when he walked into the record store. And he didn’t have a big ego. (laughs). By this point Mark got to know me and felt comfortable to work with me.

Q: You have some regular sellers in your catalog from British musicians. Deep Purple and Donovan.

A: The Deep Purple is a BBC broadcast. I’ve repressed Deep Purple a few times. I keep selling that all over the world. Part of the charm is that it was culled from a live radio show in the 1970s.

A lot of the original band members.

“The Donovan title originally came out on an independent label, Audio Fidelity

Q: In the Los Angeles area, we have watched the closing of Tower Records, Aaron’s and Rhino Records. The traditional retail record world has pretty much closed. Except for places like Amoeba in Hollywood. What did the likes of Aaron’s and Rhino do wrong?

A: Have no idea what the reasons for their closures were..

Q: And, what I have observed, is you have a different philosophy than just about everyone in the commerce end of the traditional record business.

A: I didn’t enter the record business or the record store world to exclusively make money. That is the key. The thing is, everybody is like money hungry. And you can’t be money hungry if you want to make it. You can not approach it that way. You have to share and give. And give of yourself. You have to care and have ethics. Part of my ethic is “I price music to what i would pay”

Q: Does that apply to the fact you release albums by recording artists over age 60 and 70 as well as all kinds of eclectic titles. Where does that mentality get shaped?

A: I think it basically is within my spirit. I wasn’t exclusively honing in on the dollar. That was my mode. I’ve never really been greedy. Being wise and thoughtful it all goes hand in hand, I guess.

Q: You also are involved with Blues, Reggae and Gospel.

A: That was a series that Marshall Blonstein initially issued on his Audio Fidelity label. And I licensed it from him. I was reluctant a bit at first but went along with it. I did it because I wanted to be a team player. Diana was enthusiastic about those more than I was ,diversity is important in the growth of a label, I also wanted to do just CD’s in these genres. Rockin Rebels. It was early surf music and I like instrumentals. I listened to it when I was in junior high school. I looked up the original label and found the guy who owned it. Extra Hollywood soundtrack of a documentary film about extras. A 45 to 60minute documentary that a friend of mine did. And we put it on CD and vinyl. Just the music.

Q: The Stephen Kalinich compilation “California Feeling” is now generating some wonderful reviews and media attention for your label. What was the genesis of that relationship you are now building with Stevie and your MsMusic Productions label?

Now Stephen J. Kalinich was on the Grammy ballot for his "Stephen Kalinich and Friends’ compilation ‘California Feeling’ in several categories. Best Pop Vocal Album, citing tracks by Stacy Keach and Sarah Al-Mulla (‘The Magic Hand’), and Rachel & The Reindeerz (‘Child of Winter’), that includes the first-ever audio appearance on the Grammy ballot by Brian and Marilyn Wilson’s grandchildren, Lola & Luci Bonfiglio, and Leo, Beau, Jesse & Willem Knutson.

Kalinich stressed to me in a recent interview that you, “have a unique record company owner who has a passion and a love for music. She sees things in people that other people do not see. She looks beyond the bottom line of profit and chooses artist she believes in who have a gift to give that is sometimes touching and inspirational. I am very grateful to Carol for believing in me and giving me the opportunity to make an impact on others with my work. She has been generous supportive.”

A: Mark Linett recommended Stevie. We really hit it off. Initially, and I was attracted to the concept of the album which was like a whole Beach Boys family situation. My surf roots are showing . (laughs). I listened to everying on the sampler Mark had prepared for me and read a book that Stevie wrote. I knew that it was something that could be really good. And I automatically wanted to do it. Simple as that. A no brainer. ‘I want to do this.’ I just knew it needed to be done. I go on instinct and impulse sometimes. Now we have issued the 45 single of ‘Little Bird’ and ‘California Feeling” from the album on 180 gram vinyl. The CD was produced by Mark Linett and Alan Boyd, and executive producer Carol Schofield for MsMusic Productions

Q: Also just out is the soundtrack of “The Eternal Sea,” music composed and conducted by the legendary Elmer Bernstein.

A: I knew that would be a seller. I knew his name. It had been dormant for a very long time. Tom (Null) had it and got it all cleaned up. The thing is, Elmer Bernstein is a seller. He could be doing ‘Daffy Duck’ soundtrack music and someone would buy it because it’s Bernstein. So that’s why. And these are like classic ‘50s movies and so that’s another plus. Back then it was very dramatic, and very B-movieish. And you had things like Republic Films, And so, anyone who is into the soundtracks they want b movieish classic composer music. That was a factor. And this is sort of what (Quentin) Tarentino did with ‘Pulp Fiction,’ understanding the mentality of the drive in consumer and fan. It’s the same sort of passion thing. And if I can get more B-movie soundtrack stuff, oh my God! I could have fun with it.

Q: As you are growing the record label and maintaining the record store, has there been any influence or impact how either one has informed or helped your record store. They are two different revenue streams. Do you tend to stock more soundtrack music in the record store now ‘cause you are involved with soundtrack albums with your label?

A: I have some of the soundtracks in the store. I have the 180 gram vinyl in the record store. And I sell for a lower price ‘cause it’s my label. So that entices people. It’s all the same person who has the record store and runs the record label. Carol.

Q: The record store totally depends on you.

A: The record store is open when I’m there. You have to know how to sell a record outside traditional selling. You have to be able to make up a price. Because that is what this is all about. It’s not about ‘all this is gonna be $5.00.’ ‘All this is gonna be $10.00.’ It’s more like, people complain to me casually. ‘Some of this stuff doesn’t have prices. Other stuff does.’ Well, the logic of that this way nobody is intimidated when they see a price. Because you get intimidated when you see a price because you may not agree with a price. So you just pass on it. But if you don’t see a price and then you ask, ‘What is it?’ Then it gives me the opportunity to check out the record. ‘OK. I make a price and I know its gonna be good and possibly fitting for the person that is asking. ‘Cause I sized the person up. And I sold the record. That is one of the joys of being a store owner.

Q: What trends or constant reality are you noticing about the record buyer in 2011?

A: They want sounds. Like the Sun Records sound. Rockabilly. Record label sounds. People coming in and buying the Beatles and Stones. Their rarities always sell. And Pink Floyd. Because as long as there are stoners there will always be Pink Floyd. (laughs).

“There is also the impulse buyer who grabs the rare poster from the wall. Sometimes those collectors are on a mission. They see it on the internet.

Q: And for the late 2011 and early 2012 season what are some of your label plans.

A: We’ve got a Christmas single coming out and putting out colored vinyl 45 singles. (list any titles). And later this year is an album by Lee Holdridge album ‘Casa Del Sole.’

“In 2012, there going to be an album YO MA MA titled “Shortcuts To Infinity” from Jack ≠Hashtag and Stevie Nobody. All sorts of musicians have recorded for it, including Steve Cropper, Brian May of Queen, and Cody Dickinson. The lyrics are more concepts dealing with all kinds of issues like war, peace and harmony like no one else .The producers of the project are aiming for clarity and fun.