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RipTide Music Represents Historic Fuel Records Catalog

RipTide Music—a leading source of licensed music for the feature film, film trailer, television, TV promo, advertising and videogame industries—has announced exclusive worldwide representation of the Fuel Records catalog, comprised of more than 10,000 historic masters. The announcement was made by Rich Goldman and Bob Kaminsky of RipTide Music.

Fuel Records CEO Len Fico has amassed an extraordinary catalog of classic rock, blues, big band swing, jazz and gospel recordings. Fuel currently owns, or has long-term licenses for, more than 10,000 masters. Among these titles are such all-time pop hits as The Outsiders’ “Time Won’t Let Me,” Vanilla Fudge’s “You Keep Me Hanging On,” Bob Welch’s “Sentimental Lady” and The Buckinghams’ “King of a Drag.” Recently, Fuel placements have included the hit films American Gangster and Bee Movie.

The Fuel catalog contains recordings of Sonny Boy Williamson’s “Steady Rollin Man,” Lee Dorsey’s “Ya Ya,” Aaron Neville’s “Tell It Like It Is,” Benny Goodman’s “Stompin’ at the Savoy,” Fletcher Henderson’s “King Porter Stomp,” Glenn Miller’s “In the Mood,” Freddy Fender’s “Wasted Days and Wasted Nights, Wilbert Harrison’s “Kansas City, Canned Heat’s “Let’s Work Together” and King Curtis’ “Soul Twist.”

Additionally, the catalog offers seminal music sessions from legendary artists including Otis Rush, Son House, Junior Wells, Betty Everett, Bill Monroe, Ralph Stanley and Doc Watson, and also includes a large collection of gospel recordings. Notable among these are songs from the Blind Boys of Alabama, the Mighty Clouds of Joy, Albertina Walker, Yolanda Adams and the Soul Stirrers.

“With a growing roster of celebrity talent and the addition of Fuel’s historic masters, RipTide Music is in a great position to provide world-class choices for just about any project,” says Riptide Music president Rich Goldman.

“Rich and Bob and their team at RipTide Music have a great reputation, they’re respected in this industry, and they’re highly knowledgeable about the significance of these songs and this material,” says Fico. “More importantly, they’re music people; they know what these songs are about and what they mean to popular culture. They have strong credibility in matching these songs to the right media project, since they know this catalog and these artists so well.”

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