Snapshots of Sound: From 1920's Swing to '80s New Wavers

With over 5,000 new songs added to our Vintage Collection, it can be hard to know where to start looking. As fellow music lovers, we get it, and we’ve attempted to make the browsing process a little easier on you. To accomplish this, we had our esteemed A+R Team curate a playlist for each decade -- starting with the 1920s and moving all the way through to the ‘80s -- that most accurately represents the sound, artists and genres we have available for each given time period. It’s like a time machine, but for your ears. Enjoy.

Ever wonder what your great-great-grandparents swing danced to back in the day? Well, It probably sounded a lot like this sample of orchestral, vaudevillian songs from the vaults of Fervor Records. From classic waltzes like “My Pretty Pauline” by the Western Rangers, to the uppity, accordion-filled Polka number “New Varmlands” by The Norselanders, this classic collection channels the Prohibition-era of silent films and grand ballroom affairs, offering us a timeless glimpse into the past.  

Peter Sivo of The Peter Sivo Band.

Peter Sivo of The Peter Sivo Band.

The 1940s brought us iconic songsters like Frank Sinatra, Fats Waller and Billie Holiday, who revolutionized the world of jazz, blues and R&B. This romantic, glamorous sound seeped into the musical fabric of the 1940s, leading to smooth, jazz-infused songs like “My Love Lingers On” by the Peter Sivo Band and passionate orchestral arrangements like “When I Dance With The One I Love” by The Morrison Recording Orchestra. 

Wayne Newton performing with his brother Jerry.

Wayne Newton performing with his brother Jerry.

Thanks to pioneers like Chuck Berry and Elvis Presley, the 1950s was high time for the coevolution of rock ‘n’ roll and R&B. Out with the doo-wop ballads of the 1940s and in with the hip-shaking, high tempo fixtures of every parent's nightmares. This rock ‘n’ roll revolution bred more provocative, blues-infused songs like “Tell Me You Love Me” by Roy “Boogie Boy” Perkins, while the more wholesome crowd clung to feel good classics like “Start at the Bottom” by Wayne Newton, aka “Mr. Entertainment.”

Waylon Jennings

Waylon Jennings

With most of the world embracing rock ‘n’ roll in the 1960s, this decade welcomed a breadth of bluesy new talent, including legendary rockabilly outlaws like Al Casey and Waylon Jennings. Known for his exceptional guitar playing, Casey was a part of the famous session group, The Wrecking Crew, who recorded with artists like the Beach Boys, Johnny Cash, Frank Sinatra and Elvis Presley, all while carving out a worthy career of his own with classics like the swinging, saxophone-heavy song, “Cookin’.” Similarly, Jennings dominated the outlaw circuit, touring with legends like Willie Nelson and Johnny Cash. Casey’s “Cookin’” and Jennings’ country crooner “My World” are a few of the many rare gems we’ve acquired from Fervor Records.

Bright Moments

Bright Moments

If you were alive in the ‘70s then you know that things got, well, weird. If you weren’t, then you missed out on disco, glam metal and some serious funk. Featuring “Good Days” by The Gringos and “Izya Funkin Tonight” by Bright Moments, this sampling of the ‘70s is a sampler of songs from the psychedelic era.



The Jetzons

The Jetzons

Whether it be in experimental rock ‘n’ roll or the introduction of hip-hop, the 1980s were a time when new wavers reigned supreme. Among these new wavers were influential artists like The Jetzons -- cited for inspiring fellow Arizona-natives, Gin Blossoms -- and hip-hop’s cult classic pioneers, Poor Boy Rappers. “Hard Times” by The Jetzons is the quintessential ‘80s rock anthem, while “DJ Rap” by Poor Boy Rappers showcases hip-hop in its earliest form, rapped over a live funk band. Check out both of these iconic songs -- along with a handful of rare ‘80s finds -- on our ‘80s playlist, via Fervor Records.

Posted on April 5, 2017 .

From Teen Idol to Folk Phenom: The Story of Frank Fafara

The 1950s marked the beginning of the teen idol craze that swept the nation and is still seen in the screaming fangirls and fanboys of today. From the days of Elvis Presley all the way to Justin Bieber, a select group of fresh-faced singers have had the power to hypnotize millions with their superstar looks, sweet croons and perfectly quaffed hair. Frank Fafara sits among this elite group of hair gelled heartthrobs.

In 1959, Fafara played his first gig ever in a high school gymnasium and quickly rode the high pitched screams of adoring fans all the way to a recording session with the famous guitarist, Al Casey. This session yielded Fafara’s first recording, “Only in My Dreams,” which quickly rose to #5 on the Phoenix Top 10 radio charts and earned him the coveted 3 star rating from Billboard Magazine. Riding on this newfound fame, Fafara continued to record a series of songs, including “Miss You Dee,” “Lovemaker, Lovebreaker,” and “Golden One,” while also touring around the country, making multiple appearances on KPHO’s Saturday night TV show, Teen Beat, and the famed Wallace & Ladmo Show.

As Fafara matured, so did his musical interests, leading him to shift from a teen pop sensation to a member of the folk-country counterculture movement of the ‘60s, where he changed his name to Frank Fara. Touring as “The Frank Fara Show featuring Patty Parker,” Fafara continued to record and perform across the United States, falling in love with Patty Parker along the way. The two went on to open their own record label, Comstock Records, which saw great success, including a Top 10 national single by Comstock’s first artist, Alex Fraser, and an Indie Label of the Year award from the ECMA. Country music lovers heard the songs of Comstock not only across the United States, but on radio stations throughout the UK and Europe.

In 2006, a handful of Fafara’s recordings were rediscovered at Audio Recorders, the iconic studio that made Phoenix a recording hub in the 1960s. While the songs were leased to Del-Fi Records in the 1960s, they were never released nationally, leaving them full of untapped potential. Once discovered, these rare rock ‘n’ roll recordings were compiled, digitized and released as an album titled Only In My Dreams via Fafara’s label, Comstock Records. Since then, Fafara’s hidden recordings have become cult classics and made cameos in high profile television shows including Girls, American Horror Story and The Good Wife. Listen to some of the rediscovered recordings below and enjoy. 

Posted on April 4, 2017 .

Vintage Songs Unearthed and Made Available for Licensing

It’s true -- more music is being created today than ever before. Exciting as that may be, it’s equally important to note that whatever music was recorded in the past is getter harder to find. In fact, as time passes, more and more vintage recordings tend to get lost, forgotten and misplaced,  leaving us blind and unattached to such an important part of our history -- until now.

Seeking to curate a rare and exceptional collection of vintage recordings, Marmoset has partnered with Fervor Records -- a Phoenix, Arizona-based label committed to keeping the legacy of their artists alive and accessible for years to come. Bringing us more than 5,000 rare, vintage recordings -- including legendary artists like Waylon Jennings, The Newton Brothers, Margaret Lewis and more -- Fervor has opened new doors for turning back the clock and pushing the boundaries of music licensing for the future.

This collection includes handfuls of recordings that never found a proper release, but received high praise upon their unearthing. Songs like “Funky Nightclub” by The Soulstations, which Pitchfork deemed “a stone dance floor killer with gritty vocals, twisting horns, and clattering, sample-worthy drum break,” are easy to come by in Fervor’s rich archives.

The sound and character found in these vintage recordings has an impact on picture that can’t be recreated. From Margaret Lewis’ famed Billboard hit, “Reconsider Me,” appearing in Bates Motel to Bob Kelly’s cult classic, “Ghost Rock,” being placed in the Sundance breakout film Patti Cake$, it’s clear that the vintage revival is in full swing. We are honored to represent this breadth of influential artists for licensing in brand campaigns and help continue to honor the legacy of these influential artists.

Check out a sample of this vast collection below — featuring doo-wop classics from Roy “Boogie Boy” Perkins and bellowing, groove-infused soul from The Soul Blenders — and get lost in the timeless treasure of musical gold.

Posted on April 3, 2017 .

Do What You Love and Never Stop Shooting: An Interview with Russell Brownley, Filmmaker

Field Notes: Russell Brownley, Filmmaker

"I just love being invited into other people's worlds. And treating that with lots of respect. And then, hopefully, eloquently trying to tell their stories."

Russell Brownley was drawn to filmmaking by his love for surfing and storytelling. Combined, the two have led Brownley all around the globe, capturing waves and hours of footage, and sharing them with the rest of the world. Recently, Brownley made a short film called My Saturday Morning, about professional surfer and  friend, Mikey Temple, who doesn’t let a little snow -- or a serious heart condition -- stop him from doing what he loves.

Drawn to this inspirational story and his impressive collection of work, we caught up with Brownley to talk about My Saturday Morning, how to build a career out of what you love and where it all began for the adventurous filmmaker.

What's your story and how did you first get into filmmaking?

Russell Brownley: I got into filmmaking in the early 2000s -- I went to college for documentary storytelling. I just had a real passion to travel. I've also been a surfer my entire life, so, I think that those two things kind of came together. And, I found that with surfing I had a really unique perspective on stories in different countries and things like that.

And then from there, it went into more of a pure documentary filmmaking kind of approach, then it turned into some branded content, commercials and things like that. I love telling stories about interesting people, my friends, inspiring people, the whole nine yards. That's where it comes from and is kind of translating into a lot of the work I do now.

I feel like you being a surfer directly ties into some of the projects you've worked on, specifically Mikey Temple's story. You probably had to be in the water with him and be able to keep up with him while you were filming, right?

Yeah, yeah. It's funny because I work as a commercial director a lot. We also do a lot of cuts for branded content, like short documentary kind of projects. There are a few projects I've done over the years where being familiar with the ocean has definitely helped me out.

I actually used to surf in contests with Mikey way back. He's really created a great surf career for himself and finally we got the opportunity to not only work together, but creatively tell his story. It was so much fun to get back in the water with him, float in 40 degree water for three hours. I'm from the east coast originally, so it was kind of nostalgic to be freezing my butt off. I definitely prefer the warmer waters of the west coast and the tropics, though.

With surfing, so much of it is weather dependent. Ironically, when you shoot in the winter, you kind of want the nasty weather. The last day we were slated to fly out and we actually changed our flight because we saw a snow storm coming in. So, that's how we kind of got the snow story put in as well..we made the most of it.

How did you take a long story like Mikey's and consolidate it into just a few minutes?

I actually got into filmmaking more on the editorial side. Nowadays, I have some great editors, like Pat Stubborn -- who I've known probably since I was 15 -- who edited the piece. I like to work very closely with editors, but I also like to hand off the a lot of the creative, because, I’ve found with documentary work, is that when you're directing in the field, sometimes it's not a good idea to stay too close to it in your edit, because you might try to cut it the way that it really happened.

I like to work with a really great editor because I feel like he or she can see things that I can't -- they're not as emotionally attached because they weren't there. That's kind of the way that we can meet together -- I come to him with a vision and then he can help me bring it down to where it needs to be.

As far as finding the best moments, it's the hardest thing about editorial. We have probably close to an hour of really beautiful, cinematic water footage of Mikey. But maybe that'll surface someday.

A lot of your work has been outdoor and action sports focused. Is that just by coincidence?

Well, I grew up watching surf videos and skateboarding videos and going to punk rock shows. That's kind of the background that I come from. I looked up to guys like Ty Evans and Taylor Steele -- all these surf and skateboard filmmakers. So I think that's where I learned to do a lot of what I wanted to do. I never wanted to make Hollywood movies or anything like that. I wanted to go in the direction of shooting our world.

I did also go to school for documentary storytelling, so I wanted to be able to tell a story beyond the visual. That's what I'm still most passionate about. I love shooting surfing or skateboarding, or any kind of  action sports, because it's going to be part of a bigger story.

Even though I love these really grandiose snowboard movies that come out, I'd much rather tell a story about an interesting person that maybe just so happens to surf as well.

How do you find the subjects whose stories you tell? If you're working with a brand, do they come to you with a story or do you have the freedom to choose your own subjects?

It's right down the middle. I work with a lot of creative agencies in the commercial world. A lot of times they'll have a great casting setup. Or, sometimes, it's just people that I really admire or think have really interesting stories.

For instance, I did a story about my barber, Brett Ferris. We did a series called The Craftsman Project. He's a barber, a surfboard shaper, a father, a surfer. He's just a really interesting guy.

That was just somebody who I really liked that I wanted to give a voice, because I felt like no one had really done something interesting about this very, very interesting person. So, it's both. Sometimes, I'm given subjects to work with, and on the other side of it, I get to pitch people I think are worthy of a story to clients.

Do you feel like you're at a point where you're able to choose which projects and brands that you work on?

Not quite. I do pass on work from time to time, but I also kind of look for the best case scenario in a lot of jobs. Jobs will come through that aren't crazy interesting or maybe what I'm most passionate about, but I love working with the people that I work with. So, maybe if we do something that's not as interesting on the surface, we can make it up with the experience we create on set. So, it's kind of a balance.

I’ve definitely come into a place now where I want to do work that I'm interested in because I feel like the work just comes out better. However, I love what I do. So even whether it's a bank commercial or a film about a surfer, at least I get to make something, you know?

What was your first film project?

RB: Well, my first film project, I wouldn't actually call a full film project. It was a Civil Rights documentary. I was the DP and co-director with my friend, Jeremy Dean. We both went to Flagler College in St. Augustine, Florida. He realized that Dr. King had spent a lot of time in St. Augustine and nobody really knew about that. So, we spent about a year or so making this documentary, straight out of college.

I just screened it the other day. Jeremy's still screening it. It’s basically a sociological examination of this small town in Florida, the Civil Rights Movement and then how it translates into the modern day...It's called, Dare Not Walk Alone.

If you could create your dream project, what would it look like? Or, have you already done it?

I haven't done my dream project. I've had some incredible experiences in my life. But, I know that the dream project for me would be telling a story that is going to inspire and spark passion in people, but then also involve some of my favorite people, causes and passions. It's kind of convoluted...I'm still kind looking for that. I've written treatments for some projects that haven't happened. I do know that the dream project is still out there.

What is one of the most memorable projects that you've worked on?

This past year, I did a short film with my friend Kahana Kalama. He's a Native Hawai'ian friend of mine who was going through a pretty tough time in his professional and personal life. He had decided to take a big part of his business back to Hawai'i -- his dad is also Native Hawai'ian, speaks Hawai'ian, and is really just an interesting person -- so, we went back and shot a film about Kahana going through this process of bringing his company back to Hawai'i, and he actually asked his dad to sing in Hawai'ian for the soundtrack.

That was a passion project. A lot of great friends helped me out on it to make it happen. For me, to catch someone in a very timely manner, in a very compromising time of life, was really, really awesome. I think that was probably one of my favorite jobs I've done in awhile. It wasn't a job, it was just a project that I was really passionate about.

If you could pinpoint the one thing that you love most about filmmaking. What would it be?

You know, I think getting out of my comfort zone and feeling vulnerable and having to work in that vulnerable place to tell a story is one of my favorite things. Whether that's freezing cold water in New York in the winter or a village in Rwanda, working with people who have overcome a genocide. I just love being invited into other people's worlds. And treating that with lots of respect. And then, hopefully, eloquently trying to tell their stories. I'm very passionate about that.

Do you have any advice for someone who wants to make a living as a filmmaker?

Yeah -- don't try to make a living at first. Just do it, just grab a camera and go. Man, when I started, we didn't even have YouTube. We were barely on DVDs. You can just post videos every single day right now, it's amazing. And that's what I told a lot of guys, “Don't try to start a business, just shoot.” Grab cameras, shoot, shoot, shoot. And, don't take a vacation. Film your vacation. Get out there and just do as much as you can.

I'm going to Vietnam next week with my family and I'm more excited about taking photos of our adventures. Just document and tell stories as much as you can, that's my biggest advice. I think that if you want to make a career out of it then that'll just happen naturally.

Russell Browley captures the inspiring story of his friend, Mikey DeTemple, a surfer who overcomes a serious heart condition and continues to do what he loves, everyday.

Featured Marmoset Music:

"Precipice" by Analog Colors


Posted on March 27, 2017 .

First Ever Jackson 5 Recording Unearthed + Available for Licensing

Yes, that Jackson 5

In November of 1967, The Jackson 5 recorded their first song ever and the world would never be the same. The recording, “Big Boy,” features nine-year-old Michael Jackson flaunting his already flawless vocals while his brothers play all the instruments and sing backup vocals. Steeltown Records, a small independent label in Gary Indiana, released the group’s debut single, and it was a regional hit, selling over 10,000 copies. A mere one year later, The Jackson 5 went on to sign with Motown Records and become the international superstars we know them as, changing the landscape of music forever.

Serving as a relic of musical history, the master recordings of “Big Boy” were thought to be lost for over 25 years. In 1995, the Jackson’s family friend and Steeltown’s former co-owner, Ben Brown, discovered the tapes in his kitchen pantry and reissued the single via Inverted Records. However, until 2014, the only way this recording could be heard was via CD, 45 or cassette tape -- none of which were easy to come by. Now, thanks to our partnership with Secret Stash Records, “Big Boy” has found a home at Marmoset and is available for listening and licensing. We are incredibly humbled to represent this rare and iconic song, and can’t wait to see the creative ways it’s used with picture. Listen to the original 1967 recording below.

Posted on March 24, 2017 .

Marmoset Presents: Nasty Women, Careers in Music and Film (RSVP Closed)

If there’s one thing the past six months has shown us, it’s that the women of our country refuse to be silent in the face of adversity. From gathering millions strong in streets across the world to getting sh*t done behind the scenes, it’s clear that the influence and effort of all kinds of women is woven into the fabric of our nation.

To  celebrate the impact of the amazing women in our industry, Marmoset’s next Artist Education Event, “Nasty Women, Careers in Music and Film,” will showcase three exceptional female pioneers of the music licensing world. We’re excited to host this interactive experience at Marmoset HQ on Thurs. April 13th and hold a discussion on creativity, collaboration and what it means to be a woman in the industry, led by Marmoset’s own Original Music Producer, Katy Davidson. 

Meet our guests of honor...

Dalia Burde, Founder, Filmmaker Executive Producer, Avocados and Coconuts (San Francisco) -- Born and raised in Johannesburg, South Africa, Dalia has been in production for 20 years and has worked on everything from large multi-million dollar budget films and brand campaigns for Apple, Google and more to cheeky sit-coms, documentaries and webisodes. Before founding the wildly successful creative agency, Avocados and Coconuts, she headed up the in-house production department at Goodby, Silverstein and Partners as an Executive Producer.

Morgan Thoryk, Creative Music Supervisor, TBWA\Media Arts Lab (Los Angeles) -- Over the past 10 years, Morgan has dipped her toes in nearly every aspect of the music industry, from a tenure as a Senior Music Supervisor at creative agency, mcgarrybowen, to overseeing creative sync licensing at Capitol Records. Her variety of experience in the field lends to her current role as Creative Music Supervisor at TBWA/Media Arts Lab, where she works with a small, dedicated team to curate the music selection featured in Apple brand campaigns.

Jocelyn Michelle Brown, Senior Music Producer, Leo Burnett USA (Chicago) -- Jocelyn Brown is a music supervisor, producer, DJ, musician, writer and conduit. A native of Pensacola, Florida, she has championed music professionally since 1998, starting as a college radio disc jockey at Florida State University. She’s pretty much done it all -- working for independent record labels, music production houses and advertising agencies, all whilst playing records as DJ Clerical Error in her free time. Currently working as a Senior Music Producer for Leo Burnett USA, she still somehow finds time to contribute written and compiled works to Impose and Rookie magazines and serve as a consultant for the International Anthem Recording Company.

Katy Davidson, Original Music Producer, Marmoset (Portland) -- Leading projects for brands like Apple, Old Spice and Google, Katy’s creative portfolio is as impressive as her own musical career -- touring with artists like YACHT and Gossip, as well as performing and recording under her monikers Dear Nora, Key Losers, and Lloyd & Michael. As Original Music Producer at Marmoset, Katy is an encyclopedia of musical wisdom

Location: Marmoset HQ -- 2105 SE 7th Avenue, Portland, OR 97214

Date: Thursday, April 13th

Time: 6:30 – 9:00 PM

For those of you who cannot attend, we will be live streaming the event on our Facebook page starting at 7pm. 

Posted on March 22, 2017 .