Billboard has learned that Third Side Music has signed publishing and sync partnership deals with two classic catalogs: Studio One/JamRec and the works of Galt MacDermot.
“We are really excited to have picked up the publishing on these two legacy music catalogs,” said Jeff Waye, VP of A&R for Third Side Music, by email. “Both the Studio One / Jam Rec material and the Galt MacDermot catalog, although completely different musically, are both quality musical snapshots of their times. And both have a timeless quality to them which is evident in the fact they’re still go-to catalogs for contemporary producers to sample from, and they’re considered the best of the best in their respective genres to this day.
Studio One is the legendary Jamaican recording facility originally located at 13 Brentford Road in Kingston as well as a label and outlet for various enterprises operated by the late great musician, producer and entrepreneur Clement “Coxsone” Dodd (1932-2004). In the 1960s and ’70s, Dodd helped pioneer the Island’s major music movements, including ska, rocksteady, dub and dancehall while recording and producing some of the gretest musicians to ever come out of Jamaica, including: The Skatalites (the studio’s first house band), Horace Andy, Bob Marley & The Wailers, Burning Spear, Sugar Minott, Abysinians, the Heptones, Marcia Griffiths, Lee Perry, Alton Ellis, Sound Dimension and hundreds more.
“Studio One is very excited about our recent deal with Third Side Music,” said Studio’s One’s Carol Dodd in a statement. “It’s very important to us to have partners that understand the importance of the legacy left behind by Clement “Coxsone” Dodd, and in TSM we feel like we’ve found people who not only understand the musical roots of Studio One / Jam Rec but also have the know-how to continue growing the reach of the catalog.”
Galt MacDermot, who may be best known for his indelible late-60s soundtrack to the musical “Hair,” is a Grammy Award winning composer, pianist and writer of musical theatre heavily filled with groove-filled funk-jazz. He wrote music for Cannonball Adderley (the Grammy winning “African Waltz”), film soundtracks (“Cotten Comes To Harlem,” “Rhinoceros”) and theater (the aforementioned “Hair and “Two Gentlemen Of Verona.” Galt’s work, and the breaks within, particularly his work with legendary funk drummer Bernard Purdie, are some most sought after sample sources of various crate-digging producers. MacDermot’s work has popped up in such work as Busta Rhymes’ “Woo Hah”, Run DMC’s “Down With The King”, Handsome Boy Modelling School’s “The Truth”, and tracks by MF Doom, Oh No and countless others.
“I have performed music with my father Galt MacDermot all my life,” said Vince MacDermot, Galt’s son, in a statement. “His approach to music was total focus. A performance with him was like musical warfare. He expected every ounce of energy and emotion to go into the performance. At the end of a concert we were sweating, exhausted and happy, and so was the audience. It has taken a long time to find people that have the right attitude to his music, but we have found that in Patrick Curley, Jeff Waye and the Third Side Music team. They understand the power and beauty of his music. It’s a pleasure working with them.”
Third Side Music, which began in 2006, grew out of the sync licensing division of Ninja Tune’s U.S./Canadian office. It has since grown into a fully independent music licensing and copyright administration company with offices in LA & Montreal. Its roster includes the Ninja Tune/Just Isn’t Music roster (including Amon Tobin, Cinematic Orchestra, Flying Lotus, Bonobo, Kid Koala, Actress, and more); Colin Stetson; Dan Boeckner (Divine Fits, Wolf Parade, Handsome Furs), Jay Reatard, Tru Thoughts label (Quantic, Alice Russell, The Bamboos and more) and Wax Records. The company has placed syncs with major brands Guinness, Nike, Mercedes, Google, Miller as well as film/tv in “The Blacklist,” “Walking Dead,” “True Blood,” “Spring Breakers,” “12 Years A Slave” and video game Grand Theft Auto 5 (Flying Lotus Station).
Waye, himself an inveterate crate digger, knows first-hand the value of the Dodd and MacDermot catalogs: “These were the sort of records that I perfected my elbows up record shopping technique to make sure I scored before my friends,” he said by email, “so I couldn’t be happier to be working and digging through these two great and vast archives.”