Archive for Updates

“Hallelujah”now available on all platforms! and other updates

Hallelujah” by L. Cohen, arranged & adapted by Catherine Scholz dropped today (see full production credits), Saturday December 2nd, 2023 on all the major platforms! Here are all the listening links to check it out and add this song to your collection (and let me know if your favorite listening platform is not here so I can add it):


Live performance of Hallelujah:

Lyrics video of Hallelujah on Facebook:

Hallelujah on ZDigital Australia:

Press about Hallelujah:

Pandora (coming soon)::
Tidal (coming soon):
Amazon (coming soon):
Apple Music (coming soon):

“Let This Be Enough” continues to be added to playlists around the globe. Here’s some more:

Many thanks to my listeners for supporting me all these years and to my production team Oz, Michael and Francisco for bringing their best work to this project!

Hallelujah drops this Saturday! More playlist adds for “Let This Be Enough”

Hallelujah” by L. Cohen, arranged & adapted by moi drops this Saturday, pre-save here:!

In other news, “Let This Be Enough” continues to land on playlists around the globe. Check them out:

Hallelujah 2023 Press Release


Grass Valley, CA – November 19, 2023

Introducing a Captivating New Cover Song – “Hallelujah” written by L Cohen, adapted/arranged by Catherine Scholz, mixed and mastered by Oz Fritz.

Catherine Scholz, an award-winning singer-songwriter, is set to enchant listeners with her latest arrangement of “Hallelujah.” This highly anticipated song showcases her production team’s exceptional talents and Scholz’s unique vocal style, captivating fans with its poignant lyrics and moving melodies.

With “Hallelujah,” Catherine Scholz delivers a mesmerizing experience that combines elements of Folk and Indie Pop, evoking a sense of relaxation with a touch of melancholy. The track’s dreamy undertones provide a poetic soundscape that beautifully aligns with Scholz’s evocative vocal presence.

The song’s instrumental arrangement features the skillful blending of ambience from inside the Basilica de Sacre Coure in Paris and acoustic guitar sounds provided by Michael Logue and Francisco Aviles. The guitars gracefully support Scholz’s vocals, creating an enchanting and immersive musical experience. From the first note to the last, listeners are transported into a world where emotions flow freely and harmonies resonate deeply.

Driven by a BPM of roughly 80 with occasional variations, Scholz’s “Hallelujah” entrances listeners with its cozy vibes and delicate nuances. Scholz’s masterful execution and the overall high-quality production ensure that the song’s sentiments are effectively conveyed to the audience.

Catherine Scholz draws inspiration from influential artists such as Leonard Cohen, Carole King, Joni Mitchell, and Sarah McLachlan. Her musical ingenuity shines through in her version of master songwriter Leonard Cohen’s “Hallelujah,” adding a unique dimension to the Folk genre and contributing to her burgeoning reputation as a rising star in the industry.

As a recording artist and songwriter, Catherine Scholz has continuously impressed fans and critics alike with her extraordinary compositions. Her ability to blend heartfelt lyrics with a captivating vocal delivery has garnered her a dedicated following around the globe. “Hallelujah” is a testament to Scholz’s outstanding talent and serves as a representation of her evolution as an artist.

For those seeking solace in enchanting melodies and poetic storytelling, Catherine Scholz’s “Hallelujah” is a must-listen. Stay tuned for the release of this extraordinary song, set to captivate audiences worldwide on December 2nd, 2023

Production Credits

Pre-Save on Spotify:

Hallelujah Coming Soon and more LTBE playlist adds

Just a reminder that donating supports the ongoing creation and promotion of the music I create as well as the creators I collaborate with. Please consider a donation that works for you. Every dollar helps! Your financial support also supports the collaborators in my music ecosystem.

I’m really excited that my new version of “Hallelujah” is almost ready for submission! Please follow me on Spotify to be notified of when you can listen there (anticipated arrival is December 2nd, 2023). Be on the lookout for a “pre-save” campaign as well on my social media profiles where you can show Spotify that you’re excited about it, too.

LTBE reaches 29%In the meantime, “Let This Be Enough” continues to gain traction by more playlist adds through Groover (referral link). This song has reached almost 3000 streams and its popularity score grew from 16% to 29% (almost enough to trigger the Spotify algorithm for getting placed on the highly coveted Discover Weekly playlist.

More playlist adds for Let This Be Enough

New release soon: Hallelujah, updates on LTBE and more

New Release Coming Soon

Donate via VenmoI’m pleased to announce that for the holidays, I will be releasing my version of “Hallelujah” by Leonard Cohen in collaboration with Francisco Aviles on classical guitar and Oz Fritz on ProTools. “Hallelujah” is an often-requested song by my listeners, people find it comforting and so it will be perfect for creating that chill holiday vibe. Please consider donating to this project as I am an indie artist producing music without the assistance of a label (THANK YOU). If you do not have a Venmo account, you can send $ to me via PayPal (using friends and family avoids expensive fees) or send a check to Catherine Scholz, 10126 Alta Sierra Dr. #228, Grass Valley, CA 95949. Cash in hand is always good, too!

More Playlist Adds

In the meantime, “Let This Be Enough” has been added to more playlists through another successful Groover campaign. Each playlist name is linked to Spotify in the list below so you can check them out and add them to your collection.

you in mind…
72 Pop Music
72 Car Music
Working out from Bumblebee
CakeLoud Party Music
72 Summer Music 2023
I still believe in good songs
The Best Music of the Week
This is Winter Music
Soundcree Pop

Progress in Popularity

MusicStax.comLet This Be Enough” has also gone from 16% to 27% in popularity (a 60% increase). According to Indie Music Academy), if this song it goes up just 3 more percentage points in popularity, it could trigger the Spotify algorithm for getting placed on the highly coveted Discover Weekly playlist. Being on this Spotify playlist could result in a huge boost in exposure. This boost in exposure could lead to the social proof I need to get my music licensed for film/TV/games which could result in an ongoing income stream (my ultimate goal). If a song reaches 50% in the popularity score, it could get featured on the Spotify Editorial Playlist, another coveted goal for composers/publishers like myself.

College Radio Charts

# 8 on the NACA ChartsIn its first week of radio airplay, “Let This Be Enough” has also charted #8 on the National College Radio Association charts thanks to the good folks at Tinderbox Music in Minneapolis. The song is now charting in the top 600 on  weighted and and top 400 on unweighted NACA charts.

According to Jon at Tinderbox, “the unweighted charts count every station equally. A small community college radio station counts the same as the largest non-commercial radio station, regardless of market size…  November 1, 2023 – UnweightedThe weighted charts adjust for wattage, listenership, and a variety of other factors. KCRW in Los Angeles and KCMP  in the Twin Cities (Minnesota) are very large stations, which are then assigned a “weight…” They’re weighted as a 5 or 6, meaning a #1 charting there will be worth 5 or 6 times as much as a small station. Back in the day, the CMJ chart back was completely weighted, as is the NACC chart that Brandon now uses here at Tinderbox. The weighed chart basically emphasizes a core group of influential stations.” Jon also added “We are sure you’ll continue to move up. Be aware if you’re getting towards or into the Top 200 (weighted), it can be difficult as there’s few self-released records, you’re squaring off against weightier indies and majors the further you go.”


Spotify provides information about who is listening and appreciating my music in general. These graphics show that my listeners are mostly female and in the 23-27 year age range. My top listening cities are Seattle, Chicago, Los Angeles, Nashville, Ashburn and New York. Knowing my demographics will help if and when I have budget for running ads on Facebook and/or Spotify in the future.

Reminder About Upcoming Podcast Feature

Tomorrow, November 6th, “Let This Be Enough” will be featured on the Women of Substance podcast on iTunes. This podcast features “the best new music by Female Indie Artists and Female-Fronted Bands in all genres hand-picked by Bree Noble. Women of Substance Radio has provided a platform for female Indie talent since 2007 and was transitioned into a Podcast in 2014. Each show features 10 – 15 songs and Host Beth Matthew provides interesting tidbits about the artists.”

Thanks for reading, supporting, donating and sharing my music on social media, I really appreciate it! Also, please use the Spotify player below to listen and save my music on Spotify as well as follow me on Spotify to show your interest in my upcoming release of “Hallelujah.” You might notice that I have been curating playlists on Spotify as well, so check those out and feel free to add them to your collection.

Radio Campaign, Upcoming Podcast Feature, Spotify playlist adds to date for “Let This Be Enough”

Since my last post, I’ve been selectively spending on radio, playlist and licensing campaigns. I’m already seeing some growth in my Spotify listener count (over 700 now) and hope to see a significant increase in listeners in the near future when these campaigns do their magic. I’ve also been researching and collecting resources about the most cost-effective ways to promote.

MusicStaxLTBE10.12.23In this process, I learned that “Let This Be Enough” has a popularity score of 16% which means that folks are listening all the way through to the end. Shout out to Ryan with Indie Music Academy for directing me to for this handy tool which utilizes the Spotify API to pull data. Ryan offers online courses for developing indie musicians like myself who are aspiring to collect royalties from their works.

Last week I had a meeting with Ray West of the Mezzo Agency who educated me about all the ways I can collect royalties, including forming an LLC for my music publishing company, AllGoodMusic with ASCAP. Previously I had a writer membership with ASCAP, but now I also have a publisher account which allows me to collect 100% of the royalties. Previously, CD Baby/Song Trust was listed as the publisher for Whirlwind Girl and Right Here Now.

Also this week, Tinderbox music printed 100 CDs and one-sheets to mail to non-commerical radio stations as well as submitted “Let This Be Enough” to genre-specific NACC radio stations across the nation. Here’s a list of all the playlists that have added “Let This Be Enough” as of today (click on image to expand):


In case you want to visit these playlists, here are the links to check them out:

you in mind… (from Boost Collective)

Acoustic Morning (from Sound Campaign)

Rainy Day Blues by Don’s Tunes (from Groover):

Acoustic Reflections – Relaxing Melodies (from Groover)

Heartbreak Country (from Boost Collective)

Country Rock Breakthrough (from Boost Collective)

Best Folk Acoustik – Rock – Pop (from Groover, for one month only)

Thanks to and their acceptance of my paid submission, on November 6th, “Let This Be Enough” will be featured on the Women of Substance podcast on iTunes. This podcast features “the best new music by Female Indie Artists and Female-Fronted Bands in all genres hand-picked by Bree Noble. Women of Substance Radio has provided a platform for female Indie talent since 2007 and was transitioned into a Podcast in 2014. Each show features 10 – 15 songs and Host Beth Matthew provides interesting tidbits about the artists.”

Fingers crossed for some great exposure which could lead to more Spotify listeners and more social proof! Do you know a playlist curator? Please share my track or add it to your own playlist – much appreciated!

Stay tuned for more updates on potentially another radio campaign with Imperium Network and another playlist campaign with Groover.

Phase 2: Market Research

I’ve typically been the type of person who learns something and then feels compelled to share that knowledge with my community. Right now, I’m learning a great deal about the most cost-effective ways to promote my new song, “Let This Be Enough.”  In case this knowledge is interesting to you, here is a summary of what I’ve learned since I released the song on August 1st, 2023.

According to this website, “Let This Be Enough” has a relatively high level of “acousticness” and knowing this helps inform me about which playlist curators and radio stations would be most likely to add my song to their catalog. Knowing this, I can reach out to people who would actually appreciate the acoustic richness of my song (instead of throwing money at campaigns that don’t have a vested interest in my success).

Pretty cool, huh? Incidentally, the key I wrote this song in, for those music-minded people who know, is in a flat key, which makes it ideal for adding horns at some point in the future. I wanted to make the tonality of my song stand out from the crowd (using a tonal center different from the typical C, G or D major keys). Maybe someday there will be a full orchestral version of this song (gotta dream big, right?).

Back to the topic at hand, many of my subscribers know that I used to develop websites. In that process, I learned a lot about marketing, specifically, the importance of identifying your target market. Finding the target market for “Let This Be Enough” continually involves analyzing statistics and the best website for doing this for musicians is (lucky for those of us emerging artists, they are currently offering a free trial for six months and no, I’m not an affiliate making a commission from this link). Check out their dashboard:


Chartmetric complies tons of data into one place, allowing developing artists like me to keep track of the results of their promotion efforts with ease. They also provide tons and tons of information about playlists, curators and radio stations that I could potentially ask for inclusion of my song. My development as an artist, by the way, has been a long, slow, organic process (my first release was in 2008). My music has not “taken off” like I’d hoped, so here I am giving it another go in 2023.

Here’s another service that helps with genre targeting, Cyanite:

I uploaded my encoded MP3 that I converted using, and within seconds, Cyanite showed me the “predominant voice gender” and “voice present profile” and the genre. More data to use in my targeting efforts! These screenshots show the genre and mood analyses from

Dynamic Genre Analysis from

Mood Analysis by

Did you know? Spending money on a music marketing campaign can be a bit like going to a casino and spinning the wheel, hoping you will land a lucrative deal that will pay off your debt and take your career to the next level. There are literally thousands of ways you can waste money and there really aren’t any guarantees that you will recover your investment. The music industry seems to be a “pay to play” game and in some ways, that can be good (when you have disposable income and can take the risk) and in other ways, this structure can be a major obstacle (for those who are working class and living paycheck to paycheck).

To get to Phase 2: Market Research, I’ve had to overcome a lot of self-doubt. My first Spotify campaign provided more rejections than playlist adds, which was very disheartening. I had to do what I’ve been doing ever since I was bullied as a kid: tell myself that I am talented, people like my music, and there is a niche somewhere out there that appreciates what I’m giving (yes giving) to the world.

It feels vulnerable to share that I come from a working-class background and no one in my family has broken into the “creative class” of people who can throw money at a creative project and know it will pay them back. I’m sharing this information for those artists like myself, who have a limited amount of capital to take risks with and know they have something meaningful to offer the world (because their listeners have told them so and they’re not a “vanity project.”

Here’s a snapshot of what I’ve spent on “Let This Be Enough” and the results I’ve seen:

Production: $3500

Promotion & Market Research: $864

Time, Energy & Emotional Labor: countless hours upon hours….

Here are my “recent notable changes” as reported by ChartMetric:

Latest Stats from ChartMetric

My goal with all of this is to grow the reach of my music organically in order to demonstrate the necessary “social proof” to get my music licensed for film/tv/podcasts, etc. I’ve heard that the music licensing pathways are shut down right now due to the writers strike. Did you know that many composers who write for the TV and film industry are not unionized and have seen a dramatic loss of income? This needs to change!

How can you help? Are you a playlist curator, podcaster, radio DJ, or music supervisor? Please contact me and let me know how I can get in touch with you or simply share this post with someone in the music industry who could give my music a boost. Those who love independent indie acoustic music from a feminine perspective will thank you!

Stay tuned for more development updates as they evolve.