- CEO of Stark Raving Records and Stark Raving Press
Jeffrey Weber has been a widely recognized music industry professional for over thirty-five years. He has produced over 185 CDs with releases on just about every major label as well as a host of independent labels. Along the way, his projects have yielded two Grammys, seven Grammy nominations, at least seventeen top ten albums, two number one albums and an assortment of other honors. Stark Raving Press, Weber’s novella length eBook publishing company launched in 2013. There are currently close to ninety authors on his roster including NY Times Bestselling authors, Pulitzer Prize winners and an assortment of other highly lauded authors. The company has national and international distribution and focuses on mysteries, crime fiction, action/adventure, thrillers, science fiction, fantasy, horror, women’s literature, romance and non-fiction. Each of their titles is $2.99 or less. His books, "We'll Get Back To You! Even Bigger Lies Of The Music Business" and "You've Got A Deal! The Biggest Lies of the Music Business" are published by Headline Books. During his thirty-five plus year career in the music industry, he has founded, ran or participated in various label capacities from A&R, Music Supervision for film and TV, Production, Interactive Programming, Marketing, Sales, International Relations, Business Affairs and Art Director for independent labels such as Penny’s Gang, 44-4 Records, Discwasher Records, Prima Records, Beach Jazz, Agenda Records, Denon Records, Handshake Records, Audio Source Records, Voss Records, Video Arts, Clear Audio, Pony Canyon, P.C.H. Records, En Pointe Records, Cameron Records as well as his own labels, Weberworks and Stark Raving Records. His productions have also appeared on every major label including MCA, Warner Bros., Atlantic, BMG, Columbia, A&M, Elektra as well as such labels as GRP, Hip-O, Sheffield, Concord, Bainbridge, Silver Eagle, Zebra, among countless others. Among the many artists that have fallen under the banner of “Produced by...” include: Nancy Wilson, David Benoit, Steve Lukather, the Utah Symphony, Jackson Browne, Marcus Miller, Michael McDonald, Bill Champlin, Gerald Albright, Tom Scott, Chick Corea, Stanley Clark, Etta James, Linda Hopkins, Kenny Burrell, McCoy Tyner, Jackie McLean, Billy Sheehan (Mr. Big), Cozzy Powell, the Count Basie Orchestra, John Sebastian, Ronnie Dio, Ritchie Blackmore, Pat Boone, Buddy Miles, Billy Preston, MC Lyte, Kenny Rankin, Diane Reeves, Diane Schuur, Rita Coolidge, Luther Vandross, David Crosby, Simon Phillips, Jeff Porcaro, Patrice Rushen, Toni Tennille, among many others. Jeff has been a concert and event producer for over ten years with extensive experience in concert management and production, staging, lighting, and sound from the smallest of venues to large stadium shows. He has produced shows for the Atlantis Resort, NASCAR, the Breeder's Cup, Chicago White Sox, Cystic Fibrosis, Fallsview Casino and Resort, Ford, Harry Caray's, KTLA, Loehmann's Department Store, Lupus L.A., NAMM, National Cable and Telecommunications Association, Netflix, Orange County Flyers, Pebble Beach Pro-Am, AT&T, Dockers, Shore Club-South Beach, Taste Of Chicago, USAA, American Idol, The Tonight Show, among many others. Jeff is in high demand as a consultant to the financial industry on a multitude of music industry related matters. To date, he has consulted with such companies as Canyon Capital Advisors, Samlyn Capital LLC, Fleishman-Hillard, Inc., Morgan Stanley, MSD Capital (UK) Limited, BlackRock, Fidelity Investments, Goldman Sachs, Putnam Investments, and Scopia Capital, LLC. In 2009, Weber finalized his, from the ground up, re-definition of the business model for a record label that he firmly believes will be the architecture for all labels in the future. Weber’s model has embraced a complete slate of innovative concepts and procedures, ranging from the manner in which artist contracts are conceived and implemented to recording procedures, to innovations in sales, marketing and promotion. Designed to re-invent and re-energize the relationships between the artist and the label and the artist and the consumer, the model establishes format-breaking levels of transparency and unique partnerships in all label/artist/fan relationships. His innovative concepts were the operational foundations for two independent labels distributed by Fontana (Universal). At the time, he was named President of both labels. Jeff is well known for his involvement in high technology recording techniques, especially live two track recording, live multi-track and digital recording. Because of their sonic excellence, his recordings have been repeatedly selected by major hardware manufacturers to demonstrate their product lines. Jeff is very active as a music supervisor for film, television and cable. He specializes in cost effective synchronization and master use license acquisition strategies as well as production based music options. Jeff co-founded and programmed Studio M, a nationwide broadcast television network that utilized their growing 28,000 music video library to broadcast multiple genre based music video shows. It was on the air seven days a week, for five hours a day to an estimated audience of thirty million homes. In addition to music production, Jeff has spent over twenty years behind the microphone as a voice-over talent for commercials, cartoons, industrial films, infomercials, live web broadcasting, and television. He has done voice work for Interscope (Guns & Roses), Toyota, Nissan, Ford, VR Troopers, the Ventura County Star newspaper chain, Play It Again Sports, Sony, Boston Acoustics, Audio Source, the BBC, the Jazz Network, Dejaun Jewelers, the Los Angeles Zoo, CBS and Warner Bros., among countless others. He continues to be extremely active in this field. Well versed in video production, Jeff has written, produced and directed over two-dozen music based concerts and videos. For one project, he produced a 12 camera, High Definition, robotic, five-channel surround sound DVD/CD for Band From TV, a rock and roll cover band comprised of famous television actors who travel the country raising money for their selected charities. He traveled with the band, producing all their live concerts for over five years. He has been a music journalist with articles in major industry publications nationwide. He has received numerous awards as an art director and many of his album cover designs have been published in ”Best of...” annual publications. As an educator, he has taught courses on the music industry at universities and law schools (he has a law degree as well) across the country. Jeff is a former member of the Board of Governors of the National Academy of Recording Arts and Sciences (NARAS) as well as a former National Trustee and Chapter Vice President.
- music supervision, a&r, music industry, music professional, music producer, music label, music videos, music publishing, music production / mastering, music management, music business
- Beverly Hills
Hi Tipahanie, great to hear you again! I loved spending a few moments with you a while back. You are especially creative and over the top talented. Now to your latest song! The wonderfully economic arrangement of this song allows for your heartfelt, evocative vocal to really shine. I love the tone of your vocal. It really sucks you in. I may have an opportunity for you. Please send this song to me via email: email@example.com. If you could also send me Under My Sun, I would appreciate it. I want to submit these songs to a new artist I am working with from Australia. Her project will be recording in the summer of next year so there is some time. Please send me your contact information again. Cheers, Jeff
Hi Saygun, Gotta tell you I really enjoyed this. Wonderfully atmospheric. The quality of your voice is perfectly suited to the vibe of the lyric, though selfishly, I wish your vocal was up a bit in the mix. Too quiet for my taste. Can't quite get a taste of your relationship to the lyric, though I must confess, I love the line, "Some background noise for your suffering." Brilliant! . Instrumentally interesting and well played. You might try to have a bit more verse/chorus separation to assist in the dynamic shifts. I felt it a bit too linear. This will also help with the cinematic appeal. Too long for anything other than new age and ambient music stations, which, of course was your intent originally. I feel strongly that if the listener is in the mood, your song will carry them along quite nicely. Overall, a fine effort with a willing vocal.
Hi Juliet, Right from the beginning, I felt you did a wonderful job portraying a period gone by (though I must confess, I didn't quite get the intro prior to the entrance of the vocal or the bit at the conclusion of the song). Your voice is lovely and fit the arrangement quite nicely. The instrumental section served to cement the historical tone of the arrangement, almost making it a piece of traditional music, which, of course, it was. The challenge for me was that the mix, while competent, was short on the dynamic pushes that the song needs. I felt there needed some more movement to the arrangement to create a wonderful sense of space and opportunity. Everything felt a bit slick, and that bothered me. I was hoping for more of a punch. But hey, I'm being way too picky. The song was well played and well sung. Can't ask for much more. (But how come in the video there were a bunch of cuts to lighting fixtures?) Overall, a terrific effort on a classic song that has a fine upside.
Typhanie, Gotta say, I LOVE this song from every angle. The quality of your voice is inviting, assured and yet vulnerable. The hint of breathiness combined with your purity of tone, allows the listener to share your lyric experience as if we are having the same sense of heartbreak and salvation. I especially enjoyed the first chorus lyric, "Just come inside, Let your heart dry, Under my sun..." So much hope. So much comfort. Thankfully, the production was sparse yet generous in its support, knowing just when to allow your voice to color the lyric without embellishment. Love the richness of the cello and how it balances with your vocal. Although you have provided a wealth of insight, I want to know more about you. If you wish, please reach out to me at firstname.lastname@example.org or 805 701 4890 after you check me out. Kindest regards, Jeff
Hi Ralf, Gotta tell you that I LOVE this song...! "I can't get the hell out of me" is a terrific line. All the ingredients are on the money. The playing is powerful and engaging. The lead vocal is committed and perfectly angry. Structurally the song is very sound, with the chorus being a very adept resolution to the verses. All in all, extremely well done. If I was to be picky, I would say that the song needs a remix and here's why: when you listen to the song at low levels, the lead vocal is not the loudest thing you hear. Therefore, in my world, the song fails. Also, the current mix seems to get rid of the natural dynamics of every member of the band in order to make the song louder, presumably for radio. This is tragic because the dynamics of the band seem lost and there is so much energy to the track that must be unleashed. Your vocal needs to be readjusted. The wonderful guitars must scream. The killer drums have to be massive. Right now, the mix is very polite, with the chorus rising a bit in terms of volume, but right now, in my humble opinion, the song has been handcuffed. If you used compression, get rid of it. Let the snarl of the song come through. Let the passion of your vocal rise. Now, we're talking!!! (Sorry, I get excited when I (finally) hear something great. The above is just my humble opinion...) A song of unlimited potential. Best, Jeff (email@example.com)
Hi Lucien, First thing that hits me is the unusual arrangement. Extremely captivating. Ok, here's a few things to consider - the vocal is in the same range and register as other instruments so that the vocal feels a bit cloudy and I am unable to understand some of the lyrics at times. If you remove some of the competing instruments around the vocal it will make the vocal come alive. Also, there needs to be better verse/chorus separation. The chorus should be way more powerful. Almost anthemic, if you will, because the message is very powerful, and the resolution from the verse to the chorus sets up the chorus to elevate the song to new heights. Overall, with a couple of tweaks and a new mix, Superwoman will shout. All the best, Jeff
Hi Lucien, Lots to like about this song. The production values are quite high. I love the loping feel of the song. There's lots going on, but the musical parts are well defined and distinctive. I find that the chorus sections are the most compelling and lyrical. There are a couple of challenges that I found that can be tweaked to fully realize the potential of the song. First, the verses aren't as engaging as you might wish. They pale in the light of the chorus. Try to rethink the music during this section. Second, the effects you have on your voice are more damaging to the song as a whole than you might imagine. I often found that I could not understand the verse lyric because of the effects on your voice. It became a distraction as you utilized the vocal effects way too much. If you pick your spots, then the vocal effect becomes a powerful ally that lifts the song. Otherwise is simply drags the song down. Still, a fine effort that has positive potential. Best, Jeff
Ok, a fun lyric with a social consciousness! The lead vocalist puts a bit more into his performance than the two other songs I have heard. From a lyric perspective, this is right on. Fun, but with wit and perspective. Ably played and well structured, the big winner is the lyric. Clever, insightful, wry and totally in tune with today's political mess. The band seems to take a back seat in the mix and that's ok, but it would a far different tune if the band were to step up and really shine on the dynamics. I guess the real problem is that the mix isn't supportive to the arrangement. Still a wonderful song to listen to repeatedly to get all the wonderful lyric nuances.
How can you not like this? An argument can be made that the lyric content of this fun tune is universal. Everything is in the right place on this one. Well structured, even with the sound effects! The playing is fine, but could be a bit more energetic. That goes for the lead vocal, too. There is a wonderful tongue in cheek lyric that begs a much more invested commitment. Needs more sass if you know what I mean. Still, I would listen to this over and over. Much fun.
Hi guys, Well, this was a fine surprise. The lead vocal has a wonderful quality, Definitely country in the best sense of the word. The playing is fine, if not sprightly. The song is well structured and I am pleased that the soloist did not overplay when it was his turn. The only challenge I can mention is that the chorus has to be much more compelling. The lyric is just fine. The background vocals do not do the chorus section justice and the chorus section does not match the verses in terms of melody and energy. Overall, a fine effort that with a few tweaks can be a great deal more effective. Well done.