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October 18, 2010


Keith Mohr

usually, its the people who are not very good at their craft that whine the most. If they would spend less time trying to get discovered and work on their craft, they might get somewhere.


Taxi IS legit, but I think does come down to their reviewers' personal tastes and also that some of their listings are very specific for what they're looking for.

I used to be a Taxi member, and I've been their conference in LA and made some contacts, but none of my songs were ever forwarded by them.

After I left Taxi I shopped the same songs they didn't forward through other services and got them licensed to cable TV networks and signed a one-off indie label deal.

Brian Hazard

I agree that Taxi is good for some, and not so good for others. I was a member for twelve years, but recently let my membership expire. I share my experience here:


Tricia Mitchell

I heart David Hooper. You're smart, and you're a great writer.


taxi just wants to make money. just like the rest of us. they provide a service, and they charge for it... but you would have to have your head examined if you think taxi is going to turn a crap song into a hit. to all artists, forget about taxi... instead just write, record and produce the next album. i promise it is the best way to go. besides the fact that taxi is now struggling for survival....they had their run, if they don't adapt, they too will disappear just like the record companies, record stores and the compact discs they so fervently reviewed all these years.
admittedly they do a great job advertising, which is a testament to the advertising firm they have hired to do all the work of spreading the word. dollars to doughnuts, you would be much better off hiring the advertising company they use, rather than using their service.

Lou Lombardi

Great insight as usual David. I was a Taxi member a couple of years ago. I didn't renew because I found the submission process to be very cumbersome. I have since found another program to "hand hold" me through the music business that is much more suited to my needs, but I am still a faithful follower of musicmarketing.com. Keep it coming! :)

Greg McKinney

They are a copy and paste A & R outfit, meaning that they copy and paste their reviews. If the "opportunity" said that they were looking for a song "a la Lynyrd Skynyrd", their review of the song was followed by, "not what they are looking for. Please refer to the latest Brad Paisly CD". And when the opportunity listed mentioned, "Americana", their review of the song was followed by, "not what they are looking for. Please refer to the latest Brad Paisly CD". Very lame. They are part of the problem, not part of the solution, meaning that the labels and industry have destroyed themselves with Soundscan and greed and the only way out it to produce good music, not the same garbage that they are producing now.

Ken beck

I am a former TAXI member.
On one of my submission was the suggestion that the musicianship was poor.
The demo was recorded at a very reputable studio in Nashville using union musicians who have all performed on hit records. Their performance on my demo was excellent by any standards.

One year with TAXI was enough for me to decide it was not for me. Since abandoning TAXI I have marketed my own recordings of my songs independently and have been fairly successful.

Junie Webson

Not a member of Taxi and the music I represent is outside of mainstream, but I got a free review from them so I went with it. I was surprised at the review, it was very good and right on point. Soca music or what my artist sing ragga soca a combination of dancehall and soca is outside of what I would have expected a good review from Taxi on.

Tom Jones

I was a Taxi member for a year. I thought it was a complete waste of $200. First, you have to pay for the membership. Second, you have to pay $5 for each song you submit. Most of the ads they show are on a YES/NO basis with no review feedback. The problem is that the same person isn't going to listen to your music. You can make every single correction they send you back, and be stuck in an infinite loop of opinions about things you need to change.

I went to a panel in Nashville with some huge songwriters. I asked what they thought about Taxi. They all said they had heard of it, but didn't have an opinion on it because they don't use it. That should be enough right there to convince you of the most important point.

You don't need it! They didn't so why should you? Why add another step in between you and a music supervisor or record label etc? Just send your stuff in directly to the supervisors, A&R at the labels, and to the publishers.

It boils down to artists being too lazy to knock on some doors themselves and hustle their music. Taxi seems like an easier way out. Another point the songwriter's and publishers at just about every panel I've ever been to make is that you should NEVER have to pay someone to listen to your music.

I have 5 songs published at a UK music library from a direct submission attempt. It was also the first one I ever tried on my own. What more do I need to say? Save your money and put your efforts into creating more music and making it better, and sending it out directly. Great post David, I'm a huge fan of the site and your book Move Your Music Forward.


Michael Laskow

HI All,

We don't profess to perform miracles at TAXI, and YES, we are most valuable for people who don't have a ton of time to building their own contacts and chasing down leads. If you hear a negative comment about TAXI, consider the source and listen to the music from the person complaining. That usually tells the story.

We've been in business for 18 years, typically have an A rating with the BBB, and we offer a one-year money back guarantee that you'll find us to be everything we advertise. If your music is alien space rock with no real chorus and poetic lyrics, TAXI might not be a good choice for you.

If you create marketable music, then you should do you homework, ask our current members what they think and make an informed decision. TAXI works well for people who are really good at what they do, have realistic expectations, and are willing to do some work. It's kind of like joining a gym. If you don't USE the gym, you can't expect to get results.

See some unedited comments here:

More info here:

How TAXI works here:


Michael Laskow

Charles Alexander

Hey David - Great topic. I can understand why folks ask this question. But in my humble opinion, TAXI is many things and I think they can be categorized into these sections.

1) Pitch Sheet (and this can be segmented into the different genres) and thus by extension - a kind of Music Placement Service.
2) Song Critique Service
3) Music Business Education Resource.
4) Networking Facilitator
5) PR machine

I think as a music business education resource and networking facilitator (3 & 4) they are second to none. The Road Rally is a lot of fun albeit a significant expense even though the tix are "free." Especially if you have to pay for hotel, food and transportation expenses. However some of the leads & connections could really pay off either in terms of cash or long terms relationships.

The interviews and panels that are sometimes syndicated into their newsletter can be invaluable. I've personally learned a lot from them.

Where I think they may be a YMMV kind of thing is their critique and pitch service. Depending on the genre you write in, you could find it rewarding or incredibly frustrating. For example, if you write the kind of music that can easily be fitted into music production libraries for inserts/placements in the background of shows, then I think you'd be a great fit.

However, if you write songs that you look to place with artists or high profile TV shows, then I think suddenly the bar becomes higher and far more subjective or specific depending on who does the screening. Then there's also the issue of type of genre. For example, if you're looking to place songs in the country market in Nashville, you're better off pitching to leads on the RowFax pitch sheet and/or publishers in Nashville.

Sometimes the LA notion of what is country is not necessarily what is country. I promise you there are more than enough incredible hit songwriters in Nashville out of work who are competing for those slots that your chance of a cut thru TAXI are slim. They have had some success with a song called "Buy Me A Rose" with Kenny Rogers. But the circumstances with that situation were very unique.

What I think could happen is that if the songs are extremely high quality they could get a referral to a publisher either via Michael or Ralph Murphy who has a great relationship with TAXI. Which is fine.

TAXI also needs to protect their credibility with some of their contacts so they are extremely selective about which songs are forwarded. And yes it is subjective and not necessarily in a way that is productive.

To back up a little bit, even if you're selected and working as a "staff writer" for a music production library, you've not necessarily "made it." I know someone who is writing music for an incredibly popular daytime talk show's music library studio, but the person has made next to no money (and it almost all is back end) - but has written a bunch of music which the library has first refusal and publishing ownership of those works. So even if you make it thru - you need to review contracts carefully or just forward your B-side stuff without worrying about it.

I think TAXI shines for folks who don't live in a music center. The comfort and elation that comes from the validation from music business professionals, and don't make any mistake they are professionals, can be huge, That and knowing there are other like minded individuals as yourself who are on a similar journey can be it's own reward. You just need to decide if it's worth $200-$300 a year.

I love Michael Laskow. I think he's a good guy. But I'm not a fan of their marketing style in their emails and newsletters. It is a little too "in your face" for my tastes and uses a shaming "tone" to goose people into signing up with them. Implying that if you don't sign up with them you're an idiot or not very knowledgeable. Or you're missing a huge opportunity. To their credit they do offer a full refund policy. I have not exercised that option. But I have let my membership lapse.

In short there is nothing that TAXI does short of the critique service or the networking opportunity that you can't facilitate on your own with some industry, organization and some online tools. For placement services or music production libraries try http://www.musiclibraryreport.com

For critique, join a local or regional songwriting groups. To pitch music sign up for a legitimate pitch sheet like SongLink or RowFax or get on HollywoodReporter.Com or Variety.Com and look for opportunities.

TAXI is legit. But YMMV. And they definitely are not gonna be your Savior.


Chairman Ralph

I don't think the Savior was charging $5 a pop for getting into Heaven, though...nah, wait a minute, that was the Middle Ages, when they offered a great line in indulgences... :-)

>"If your music is alien space rock with no real chorus and poetic lyrics, TAXI might not be a good choice for you."<

Sounds like Hawkwind, actually...or Roy Harper... :-) And, last time I checked, they've done perfectly OK without the dream factory's seal of approval.

But, all jokes apart, this nugget from Natalie Josef's BITCH essay ("So You Want To Be A Rock 'N' Roll Star") might put a few things in perspective: "The Taxi listings for what people in the industry want are filled with requests like 'besides having star quality, you must be young,' 'upbeat, positive, heart-warming lyrics--no political, negative or sexual lyrics,' and the killer for me, 'no folk.'

"No folk, ladies and gentlemen, means nothing in the vein of the Indigo Girls, Ani DiFranco, James Taylor, or Joni Mitchell -- and, most importantly, it means nothing political. Folk, whether or not you're playing an acoustic guitar, is about being pissed off at the world and singing about it."

Actually, I think Billy Bragg said it best of all: "If no one seems to understand/Start your own revolution and cut out the middleman." I'm with Tom: carve out your own path, and let the chips fall where they may.

Charles Alexander

That's good Chairman Ralph :-) I couldn't find Josef's article online. But to be fair to TAXI I haven't seen listing as you describe Josefs describing. But I've only been a member in the last 3 years. In fact, I have seen listings for political songs. So not sure if that's a sign of the times.

Still I think you're spot on about cutting out the middle man. Your career is what you will make of it.


Chairman Ralph

Thanks, Charles! I couldn't find Natalie's article online, myself or I'd have posted the requisite link -- that's why I took the trouble to type all that out from the Xerox that's sat on top of my boombox... because I was curious what other people's experience has been. Good to see that there's some political songs listings. As you say, it's down to you and whatever songs you've got knocking about your trunk.

ian bruce

when i worked for a small label we got some submissions for our billnoard charting gospel artist michelle flowers. they were ok/good. michele didn't use any, she was so good at songwriting & recording that radio stations & managers called us for her.
what i would like to know if they turn down songwriters who are really terrible??? when i was very active in radio promo i turned down paying clients because i told them they weren't very good, even after that one sent me money and their cds.
what is the actual success percentage of the taxi membership???

John Mazzei

TAXI isn't a panacea that will help anyone with a wish get signed or placed, you still have to deliver the goods. TAXI is also a good fit for folks that don't live in a music center and don't have the networking skills or the time to do lots of self marketing. Of course, the absolute best way to have success is to use every avenue available in an intelligent, targeted way, including TAXI, networking, going to conventions, touring if your'e an artist, etc. Basically it's still about running your music career like a business, just like any business in the world.

I write strictly instrumental music (at this time), and I have regular placements on a very famous daytime TV show (can't use the name, unfortunately, but the host's name starts with "O"), and other shows produced by her production company. I have also had a placement in season 1 of True Blood and placements in indie films and also have been put on a "go to" composer list for a library that is based in LA with lots of great connections in the TV production business. All of this is directly from forwards from TAXI. I have also met and made connections with other composers at the Rally in LA and as a result have been recommended to other libraries and am writing for submissions directly to reality shows and also for Dateline NBC. I get regular ASCAP royalty checks, not huge ones yet, but for the past 4 years they have been steadily growing. I have been a TAXI member for 6 years now and have been seriously pursuing a composing career for 4 years. I have learned a ton about how the business works from my TAXI experience and also from very knowledgable members who are very successful as a result of TAXI and who I have become very good friends with. Even though I live in San Francisco, which is a fairly active music market, I don't really have the time to do tons of networking and marketing on my own so TAXI has really helped me leverage my music and my time and I have made some great connections and have well over 200 pieces of music published, and counting!

The screeners are mandated to screen according to the listings. One song may get forwarded with high marks for one listing and get totally shot down for another. It's not a referendum on that song, it's just that the song wasn't right for the listing. Of course, screeners are human, but TAXI screeners are hired because of their experience in the industry and they have listened to probably thousands of songs in their day and are hired because they are experts in their field. Do they get it wrong sometimes? Of course they do! Does the artist submitting their song get it wrong occasionally? You bet! The music business is not for the impatient folks in the world, and it's also important to find where one fits in that crazy world of music, so TAXI may not be for everyone.

So I'm living proof that TAXI does work, but your mileage may not be the same as mine. I'm an instrumental composer with the ability to write to listings and produce broadcast quality productions pretty quickly from my home studio. Artists who write a few songs a year won't have as many opportunities to submit depending on their style of music and so each submission has more emotional weight for them, possibly.

In baseball, a great hitter is one with a .300 average. That means that they get a hit 1/3 of the time. Most hitters don't have that high of an average, even in the big leagues. To expect to get forwarded on every listing in the music business is a recipe for frustration. We will get rejected way more than we will get accepted and the only way to get over it is to keep trying. Those who succeed in any business are those that outlast the ones without the stomach for rejection.

Good luck to all and hang in there!!

John Mazzei

Tom Jones

I think if someone or some site promises to make your dreams come true, then you should take is with a big giant grain of reality salt.

Perhaps if they embraced the fact that they were a middleman it would be fine. "Yes, we are a middleman, but we're the best middleman you can partner with and here's why..." But coming out and implying "anyone that says bad things about Taxi probably has terrible music" is a BS statement. I estimate that with a 6% success rate, 94% of members aren't going to be happy with Taxi. Hence the reason why it's so hard to get a refund because so many people want one. Don't believe me? Research some articles online.

It is what it is. Taxi is a middleman. You can either use the middleman because (insert excuse here) or as Ralph said, carve your own path. Yes, I agree with Mr. Laskow. Do your homework and think twice before committing money to anything. Don't take my word for it though. Sign-up for a membership. I honestly hope you can exploit it to the max.

Panos Kolias

Hmmm... every now and then I read people bashing TAXI. Every time I think... "well now it's time to tell my story..." and then again I think. "why bother?"
Well today I do bother. I have had a crappy week behind and this is partially TAXI's fault.
Let me clarify...
I monitored TAXI's listings very long since 2004 or so... I was always thinking "When I see a listing I like, I write music for it and then become a member, submit my and sit back and collect the check".
Well it took me aprox 3 years to get in the state of "I write music for it and then become a member," and guess what? I did so and my music was forwarded but nobody send me a $150.000 check. Bummer ...
So it took several submissions, forwards, returns, critiques I ignored etc. I even send the same pieces unchanged to similar listings and got different critiques and sometimes even forwards. I kind of believe that this happened due to the fact that people with personal taste are listening the submissions and decide to return or forward.
[ OTOH it may all be just scripts and mailrobots running on huge server farms... probably in an alien spaceship above the orbit ;-) . Who knows? -yeah I know Mr. Laskow will say "come over and see with your eyes" but I don't fall into this trap. I am sure Mr. Laskow has been in the team who faked the Moon landing back in the 60s. :)
-pause: I do hope you recognize irony even without smileys, don't you?-]

Long story short. At some point 2 years later in Sep. 09 I got a mail from a library telling me that they received 180 titles out of 450 and they selected 26 composers to work with them. Of course I was among the 26 (I guess they didn't send emails to the composers that were forwarded but not selected - they must be bad guys ;-) ) - [BTW Don't tell TAXI that I got a deal through them.. they probably going to want my soul for that :-)]

It worked and had to work my A@#^ off in order to keep up with my 60h/week dayjob and send music to this Library.
Later I got a second deal. Again through TAXI -pssst don't tell- . And the I got a 3rd cause my work of my first deal made somebody believe in me and my work and offer me another deal. And before a year was by, I found myself pitching for a promotional film for a big show in a big network. Mr Mazzei above will know which one.
Today I almost cannot write as much music as I would need to keep up with the requests and stopped sending music to TAXI listings, cause there's no time for that.
And that's definitely TAXI's fault. They are responsible for the deals I got, which deals in turn ask for so much music. And as this week I did almost everything else (you know amazing stuff like taxes, paperwork, ect) except music I had a bad week. And that's TAXI's fault too... :)

Now this week is my last week in my day job. I quit my job and starting full time to compose, record and produce music. I am to the TAXI Rally to meet a bunch of the most amazing, positive and great composers I've seen around in the last years. Mr. Mazzei is one of them.
Forgot to mention that I live in a small town outside Hamburg, Germany and I have absolutely no idea how I would have gotten in contact with Music Libraries or TV Production companies in the USA haven't been through TAXI, or any other similar company. I do realize that they shouldn't ask for money for what they do - I mean, do have lives to live and family to feed or what?- but then again I use these costs as excuse to ask to be paid for my music, and don't give it for free -Well now it's out: me too am a bad bad guy... this world has gotten worse and worse... ;-)

BTW here a great blog post that fits perfectly in this thread:


Have fun and love what you do!

Panos Kolias

Chairman Ralph

The Internet works quite well for research, whether you're in Hamburg or Honolulu. For instance, here's a link to a site that's set itself up as an evaluator of music libraries:


Barring that, you can try running a search for this music supervisor, or that -- a lot of the same names tend to turn up, again and again. And you can probably forget those guys always trolling for business in the back ends of Cragislist! :)

Joey Daddario

Just curious...how many members does TAXI have now? Anyone?


For those who have had a bad experience with Taxi, is there another service you WOULD recommend?


Well I was a member and found that through all of the submissions that they (The music industry experts) really aren't looking for uniqueness the only part of the industry that is looking for uniqueness are the people who buy the music (DVD, CD, TICKETS, etc.). What the experts want is the same thing with a twist so they can sell it as unique and the newest sensation. It really is true that all you need to know is three chords and a couple of different progressions. Throw a simple and catchy hook repeatedly throughout the 3 minutes and you will get positive feedback. I know this to be a fact because I tested my theory and it worked every time. I actually thought Taxi was good and telling experience and money well spent. If for nothing else but to know that the music I really loved was not what they wanted. At first it was hard to handle but after I realized (again) what I was here for is what is really the only important thing.

Todd Vaters

I was with TAXI for two years and really liked it. They sent a few of my songs on to publsihers, music supervisors, etc. In fact, I just learned some of my music is still being submitted because of a music library that TAXI hooked me up with. The only reason I didn't renew again was because of the economy and needing to put all resources toward recording. I hope to join again when things improve. A couple of thoughts...

1) This is how the world works, folks: We're all trying to get ahead and be successful. Whether you're a songwriter or you work for TAXI (or even own TAXI) we all make our decisions carefully and avoid doing things that won't move us forward. TAXI is looking for 'sure bets' or as close to 'sure bets' as possible. They're a business. Accept that and get over it. The bitterness does not get you ahead either.

2) Any service that provides feedback on your music is a valuable tool. I've had 2-3 TAXI reviews (out of dozens) that seemed generic, unthoughtful or (maybe) cut and paste. Maybe someone was in a rush, had a bad day, or eventually got fired for their poor work. 99% of my reviews were thoughtful and specific. Sometimes I disagreed. Like all feedback, never take one opinion to heart but look for a common thread and you'll be getting somewhere.

3) Reviews of the same song will be different because a) There are different reviewers and b) each posting is different. What's perfect for one posting might be way off or not-so-perfect for another.

I think of TAXI as one more wall to throw spaghetti at. However, if it's you're only wall, you might end up bitter and disappointed. I live in Nashville and there's no shortage of disgruntled songwriters here, either. I wish people could see how unproductive bitterness is. Would you ever buy a shirt that looks terrible on you and makes you look bad? Bitterness is kind of like that. But I digress.

I'm a fan of TAXI and look forward to joining again soon.


I wouldn't call taxi a scam but they are a waste of time. If you want to get your music out there, put it on YouTube and do some basic promotion via facebook, twitter, and other social networking services. If your music is good, you'll start getting the traffic you need to monetize it. If it is no good, you'll find out about that too. For monetization, you can use a digital distributor like cd baby to get your songs in iTunes, amazon, and others. Also, most a&r execs are on twitter and you can contact them directly to get your songs in tv and film.


I was member of Taxi and found it to be a joke. These so called artist do one thing and one thing only tell the American public what to listento period I have had people I don't even know tell me my songs are good and why am I in the profession I am in Which by the way is truck driver I personally feel the people at these so called music reveiw places such as Taxi would not know a goood song if it hit them in the you now where


I am a Taxi member. I live in the north woods of Wisconsin. I have been forwarded twice and have yet to land a deal. Knowing that I have been forwarded has been a great boost to me in this messed up economy. I think it is an opportunity for success that not many organizations offer. Internet schemes abound. It is refreshing to know that something exists out there that can provide hope. Thanks Taxi. Looking forward to more forwards.

Chuck Mott

Everyone here basic seems to be telling the same story. That TAXI is a legit service, that you can do a lot of what they do if you have the time to do it and don't mind busting your butt making the connections. For others who want to pay the middle man, TAXI may be a way to go and are established enough to be taken seriously if you submit material through them. Of course some people are going to like your music and some aren't. IS why it's called art, so not necessarily Taxi's fault if one reviewer likes your stuff and another not. In other words it sounds like , outside of maybe providing specific info why it doesn't hit the target of the market you submitted it for, take it with a grain of salt. Maybe Taxi's greatest strength isn't as a music critique service. Maybe your song isn't immediaiately strong enough and they have to say something, so you may occasionally get canned responses (wasn't what the artist was looking for, etc.). SOmetimes subtle is good. COuld you imagine the number of flames TAXI would get if they were always brutally honest and they gave their honest impression that your music sucked wind for every crappy submission they got? SO I believe I got what I want from reading these, that Taxi is a legit service, that you are joining with an almost inherent commitment to write to their markets (and rewrite and rewrite). There are probably lots of these services around. TAXI has been in the business since I have been in the business at least (as mainly a performing cover musician for over thirty five years wo likes to sometimes write original material)and are as legit or honestly more legit doing what they do as any other business out there. Again final impressions: this is a service mainly for behind the scenes writers who want to write quality material geared towards specific markets, not necessarily indie musicians or other artists who have aspirations of being the next big star. Am I correct in this assumption?


Past TAXI member, not going to beat the dead horse about it. Just curious, can anyone name a major artist that credits TAXI for their success?


Our two year adventure came to a close in January. Final tally:

Cash Outlay: 778 dollars

Number of forwards: 3

Number of returns: 53

Number of deals from forwards: 0

The accompanying critiques ranged from helpful to absurd ("Never whistle on a demo. It never works", "Never mention another country artist in a song" "Never give your song a title unless you google first to see if there's another song with the same title") stuff like that.

TAXI claims that "Typically, about 6% of our members will get a deal of one kind or another during the course of their membership year."

A visit to the "Success Stories" section of their forum seems to indicate that 99% (if not 100% - I tired of drilling down thru the pages) of the deals involve selling instrumental cues to music libraries, or selling instrumental cues to 'Access Hollywood' and so forth. I could find no posts along the lines of, say, "Carrie Underwood is going to record my song!!" or "Tim McGraw just called!!" lol

Since we have no interest in selling instrumental cues we decided to let our membership lapse.

hope this helps inform your decision . . .


Taxi is aimed for sound-alike artists. If you have songs that are masterfully mixed and produced and sound like someone who is already famous, you are a great shot of getting gigs with taxi. Also if you are a composer of "classical" or "art" music, forget it. It's the same thing, they want Hans Zimmer, but don't want to pay for him. Taxi's listings specify over and over again sounds like..... sounds like... sounds like..... Their "feedback" is sparse and does not offer anything that a professional wouldn't already know. Their "successes" is very rare. I do know someone who made a few bucks with taxi, but he or she still works at his or her day job. It's not going to get you any further than you can get on your own. Join a performing rights organization and get involved! I personally think ASCAP is great. Good luck, fellow musicians! If you are true to yourself, well-prepared and optimistic, you WILL find your niche!

Guitarman Jw

I myself was with Taxi for a year....wow, what a waste of money. I fell for that crap once, not gonna let the same dog bite me twice. You don't know if the screeners are going to be true to your submission or not? Damn man, for the money your paying, send the artist's material straight to the company that is wanting the music!? But no...you wont do that will you Michael? Yeah, yeah...I know...they're in this for making a profitable business...and boy, if you're wondering about joining Taxi? Don't do it. You'd be better off, going another route, so you can send your material straight to the company is wanting the music. And it might, or might not work...but Jesus, you can save $200.00 bucks. I'd rather pay $5, $10, bucks, and have my material go straight to who is wanting it. There are plenty of other avenues you can take besides Taxi!!!

Collette Mclafferty

I was a taxi member for a year and submitted every week. We were forwarded once or twice. Never placed a thing. Some critiques were helpful, some not so much. I submitted our cover of Outkast's "Hey Ya" for an opportunity looking for cover songs. The feedback was about my lyric writing!

It should be noted that outside of Taxi I have managed to get placements on MTV, The Oxygen Network, The Learning Channel, and Showtime's "The L Word".

Pandamonia Band

They were true to their word and gave our money back.
But we sensed real early that it wasnt for us.

I would say most of whats written in here in a negative light is correct.
If they would only just forward it and let the record label decide instead of pre deciding they'd have a healthy business record.

They did try to be difficult at first. I dont like to bad mouth them
but at the same time, I feel for the every day musician. Its not easy out here and songwriters and spare cash aren't exactly two peas in a pod.

Its better to spend the money directly on your own product than on taxi.
It just is what it is.

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