Timmy Haehl
Courtesy of Big Machine MusicMusic publishing company Big Machine Music has opened a West Coast office in Santa Monica, Calif., with Timmy Haehl joining as senior director of publishing.
Haehl will assist with Big Machine Music’s pop songwriter signings, and will represent the entire roster for multi-genre opportunities. Haehl will report to Big Machine Music’s general manager Mike Molinar and vice president of publishing Alex Heddle.
“Between Big Machine Music’s crossover hits, the growth of our roster to include LA-based songwriters and our inter-company collaborations with SB Projects, it is a natural move for us to formally open a West Coast office, and Timmy is the perfect creative publishing executive with which to start,” Molinar said. “Timmy exhibits every bit of Big Machine Music’s values and vision for the future,” Heddle said. “His passion for developing and promoting creatives is palpable. We are very excited to have him join our team.”
Haehl launched his career in A&R at Geffen Records and most recently served as director of A&R and management at Hallwood Media, servicing a roster of songwriters and producers including David Stewart, Brendan O’Brien and King Henry. Haehl will continue representing King Henry via an agreement separate from Haehl’s role with Big Machine Music.
Haehl added, “I couldn’t be more excited to join Big Machine Music and help bring Nashville’s top independent publisher into a new era of success within the LA creative community. As Big Machine Music’s personalized, writer-focused strategy and hit song sensibilities align with my own, I am looking forward to success with this team and the current roster of songwriters as well as future signings.”
Most recently, Big Machine Music’s successes have included Gayle’s “abcdefu,” co-written by Big Machine Music writer Sara Davis. Maren Morris’s song “The Bones,” co-written by Big Machine Music writer Laura Veltz, earned BMI 2021 pop song of the year honors, while the Dan+Shay and Justin Bieber collaboration “10,000 Hours” was co-written by Big Machine Music writer Jessie Jo Dillon. Diplo’s “Heartless” was co-written by Big Machine Music writer Ryan Hurd, while the Alicia Keys/Brandi Carlile collaboration “A Beautiful Noise” (a current Grammy Awards song of the year contender) was co-written by Big Machine Music writer Brandy Clark. Big Machine Music’s current roster includes Veltz, Brett Young, Hurd, Clark, Dillon, Matt Dragstrem, Eric Paslay, Justin Moore, Maddie & Tae, Ayron Jones, Callista Clark, Davis, Tyler Rich, Laci Kaye Booth, Daniel Ross, Lauren Weintraub, Reid Isbell, and Drew Polovick, while the company’s catalog writers include Luke Combs, Jonathan Singleton and Josh Thompson.
NEWS
There is no question that Clipse’s Let God Sort Em Out made a serious impact and continues to hold weight. The project showed that hip hop is not limited by age and proved that a long-awaited return can still land in a major way regardless of the time away.
If you need a reminder, the Virginia duo’s fourth studio album debuted comfortably within the top five of the Hot 200. It secured the number four position and moved an impressive 118,000 units in its first week.
On top of that, it picked up a win at this year’s Grammys, earning Best Rap Performance for “Chains & Whips.” The album also received four additional nominations, including Best Music Video, Rap Album, and Album of the Year.
It is hard to believe the project will officially hit its one year mark this summer on July 11. Even so, Pusha T is making it clear that both supporters and critics should not be overlooking it anytime soon.
While performing at Coachella yesterday, King Push told the crowd that LGSEO still sits at the top, regardless of genre.
He said, “‘Let God Sort Em Out’ is still the album of the motherfckin year. Whole new year, still album of the year,” per Kurrco. “Album of the motherfcking year until we drop again. We don't care who dropping. It don't matter.”
That is a strong statement for obvious reasons, especially considering the recent claims surrounding Push himself.
Over the same weekend, hip hop social media lit up after several alleged reference tracks connected to Quentin Miller and Push began circulating. Three tracks surfaced in total, but one that drew the most attention was an alleged record titled “Real Gon’ Come.” It is said to come from the DAYTONA era, around 2017 to 2018.
The situation gained traction because fans remember the past tension between Drake and Pusha T before Drake’s clash with Kendrick Lamar. During that feud, Pusha accused Drake of using ghostwriters on tracks like “Infrared,” which appears on DAYTONA. On that song, he raps, “The bigger question is how the Russians did it /
It was written like Nas, but it came from Quentin.”
Reactions have been mixed. Some people argue it is not a major issue since Miller’s alleged contributions were limited to hooks. Others point out that the songs were never officially released, so they see no real problem. Meanwhile, critics view it as clear hypocrisy on Pusha T’s part, a perspective that DJ Akademiks has also supported.
