In October of 2011, Jonathan Parks launched ALIBI Music from a spare bedroom of his apartment in LA’s San Fernando Valley. With a passion for music and a head for data, he worked at his vision, a music library shaped by years of thoughtful listening, responding to the unique needs of content editors and assembling a small dream team of remote working employees.
One decade later (AKA this month – YAY!), ALIBI Music is a little engine that not only could, but DID. We’re fortunate to hear our music daily in movie trailers, TV promos, shows, commercials and other content all over the world. And what a ride it’s been!
As we head into the next 10 years that will shape ALIBI 2.0, we’re celebrating with a look back at our all-time favorite ALIBI track placements and why we love them. Enjoy!
Jonathan Parks, Founder & Executive Producer
fatherhood.gov, 2021
ALIBI Track:
“ALIBI’s music has been utilized in so many incredible projects, including theatrical trailers, worldwide commercials, television themes and scores, so it’s somewhat impossible to choose just one. My personal favorites, though, are when the catalog is used for good deeds and positive messaging. We’ve provided music for nonprofit use many times and much of it through work done for The Advertising Council. Here is my most recent favorite produced by Campbell Ewald. The track was written and performed by Samuel Burt and Daniel Burt. Minimal-style tracks require incredible nuance to produce the emotional tone as the production requires very talented ears and sound techniques since there aren’t numerous layers of sound to blend and hide within.”
Kent Carter, VP of Strategic Initiatives
Adult Swim, 2018
ALIBI Track:
“As a library composer, you never know where your music will end up. But having a song in a cartoon with a character singing the vocals while a talking dog threatens murder, and then the clip getting millions of views on YouTube is just magic."
Julia Trainor, Head of Sync A&R
Showtime, 2021
ALIBI Track:
“6ix9ine’s story is a complex, layered one to tell, and to do so, you’d need a song that works for the emotional moments as well as the intense and dark moments. Turning ‘Amazing Grace’ on its head with a tense, dark, all-instrumental approach was just the way to go! Showtime did a great job with this trailer.”
Sam Wale, VP of Production
Marvel, 2013
ALIBI Tracks:
(intro) and (composed by Sam)“It's still the funniest game trailer I've seen – absolute carnage throughout – and I love that Deadpool is making fun of our track.”
Tim Hare, VP of Business Development
Create for Universal Pictures, 2018
ALIBI Track:
“In working with Create on this project, Kent and I learned how important adaptive audio was to the gaming space and completely opened a new door for ALIBI to serve that community.”
Joseph Miller, Director, Creative Licensing
Amazon, 2020
ALIBI Track:
“A fun spot with our music an integral and very prominent part of the creative.”
Eddie Mackavage, Metadata Analyst
Universal, 2020
ALIBI Track:
“‘Tremors’ and Burt Gummer are a huge trigger of childhood nostalgia for me, so this placement perfectly meshes everything that makes me excited about working on this side of the music and trailer music industries.”
Jonathan Haskell
Downy, 2020
ALIBI Track:
“While certainly not the most exciting entry, for me as a publisher, this type of performance is a gift that keeps on giving. Nationally broadcast television commercials are a golden ticket to exposure, maximum performances, potential for renewals and consistent backend royalties.”
Paul Ortiz
Netflix, 2019
ALIBI Track:
“Our True Crime and Horror albums are among some of my favourites, and this is a great example of how the right song choice and a tightly sync’d edit can bring a trailer to life. I also love the organic tones and rhythmic use of cello on this album.”
