Producer, Publisher & Songwriter
He left Perry to produce Leonard Cohen's album 'The Future', and four Aaron Neville albums at A&M, including "The Grand Tour" and "Soulful Christmas". He later produced a song “Just Walk Away”, from Celine Dion's album "The Color of My Love". He executive produced Leonard Cohen's "Tower of Song" album, for A&M, which included performances by Peter Gabriel, Willie Nelson, Trisha Yearwood, Aaron Neville and Elton John. For Elton John’s “Duets” album, he produced songs "Born To Lose" by Elton John and Leonard Cohen, as well as “I'm Your Puppet" by Elton John and Paul Young. In 1997, he produced Guster’s album “Goldfly”, and in 2005, produced Chris Botti’s breakthrough album “A Thousand Kisses Deep”.
In 1994, he started Blotter Music with Windswept, a publishing company in Los Angeles California. Through Blotter, he published, signed and developed an array of talent, including Bridget Benenate ("Breakaway" sung by Kelly Clarkson), Mickey Avalon, Mike Elizondo and Benji Hughes. During that time, Steve also taught Dr. Dre piano and Music theory for four years.
In 2004, he started West Side Independent publishing, one of the four sides of the Independent Publishing Group, with Cameron Strang. They signed and developed J.R. Rotem, Bruno Mars and Brody Brown. Brown and Mars later wrote the songs "Grenade" and "Fuck You". Cameron Strang has since become Chairman and CEO of Warner Chappell Music with whom Steve has exclusive joint ventures: Thou Art The Hunger and Mod Junkie. To date, Steve has sold over 100 million records as a publisher.
Steve wrote and produced the song “Welcome to Burlesque” performed by Cher in the Screen Gems movie “Burlesque” (2010)
In 2011, Lindsey and partner Jonathan Gordon formed GRIND MANAGEMENT, patterned after Motown and the infamous Brill Building. He signed songwriter/producer Khalil "Cassius D. Kalb" Walton, YouTube phenomenon Kurt Schneider, and continues to develop upcoming artists.
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Famous quotes containing the word publisher:
“No publisher should ever express an opinion on the value of what he publishes. That is a matter entirely for the literary critic to decide.... I can quite understand how any ordinary critic would be strongly prejudiced against a work that was accompanied by a premature and unnecessary panegyric from the publisher. A publisher is simply a useful middle-man. It is not for him to anticipate the verdict of criticism.”
—Oscar Wilde (1854–1900)