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Ever been in a restaurant or hotel listening to a mix of music that sets the mood during dinner or a spa treatment? It might be the work of entrepreneur and musician Allen Klevens.

Klevens is founder and chief executive officer of Prescriptive Music, a Los Angeles-based boutique-style music company that provides custom playlists for hotels, retail stores, and spas looking to stand out. Launched in 1999 from the founder’s garage, the company has gone through some twists and turns. It started out providing relaxation CDs for operating rooms and ended up serving the hospitality industry, abandoning CDs for software-based systems along the way.

But the transitions have worked. Prescriptive stands to generate $2 million in revenues in 2011, with a global client list that ranges from the Marriott and Four Seasons hotels to Cheesecake Factory and Wolfgang Puck restaurants to a small spa in Utah that wanted music that included yodeling (provided by a Scottish band). Don’t think piped-in elevator music. The playlists include everything from instrumental music to rap and R&B, all depending on the venue, and it can be altered on the fly.

“In order for us to do what we do, we have to have all the latest, coolest music,” said Klevens, who pays to license some music and accepts music from unsigned artists, who do not get paid but provide it for free in exchange for the exposure.

To bring new clients on board, Klevens explains that the idea is to use music to brand the property.

“I want to be part of the bottom line,” he says. “I can affect who walks into that hotel, who’s eating at that restaurant, and who’s coming back.”

The company has seen 30 percent revenue growth in the last six months alone as the hospitality industry rebounds from the recession. When the industry crashed in 2008, though, its own revenues were flat.

“We worked with every single one of our clients who had a problem,” Klevens said. “So if they needed a break, they needed something lowered during that recession period, we absolutely took every step possible because they were hurting, so if they were hurting and broke the contract, we would hurt. I would rather take less to have them continue on, and now they’re all back to where they were again.”

His company endured its own rocky times.

Klevens, now 39, trained as a classical pianist and worked at a retail piano store in Beverly Hills after college, where he realized he had a knack for sales and moved up to manager and found himself waiting on A-listers like Charlize Theron and Anthony Hopkins.

But the retail hours were getting to him, and after attending a medical conference with his father, who was in sales, he saw a vendor selling music CDs for the operating room, and doctors’ and dentists’ offices and decided to follow suit with better music.

On the side, he got together with friends and composers and created a four-CD set of relaxation music, which he sold a few copies at a time at health industry trade shows. Klevens was about to give up when at the the last trade show he attended, he met a woman who loved his music and called someone at the Canyon Ranch SpaClub, an exclusive spa at the Venetian Hotel in Las Vegas. She ordered 10,000 CDs, but said the packaging “sucked” and asked for branded packaging with the spa’s name on it.

That led to the revelation that he would have to create branded CDs for businesses, and he would need the money to do it. Klevens turned to his boss at David L. Abell Fine Pianos, which he had managed for 10 years, and told the owner, David Abell, he wanted to start his own business. In addition to being a mentor and a “mensch,” by Klevens’ account, Abell also had money.

“He said, ‘How much do you need? I said, ‘I need $100,000,’ and he took out his checkbook and he wrote me a $100,000 check, and he said, ‘If I never see this again it’s OK,’” Klevens recalls.

He was able to pay Abell back, and the company has been self-financed since then.

The pivotal moment was when the company partnered with Marriott in 2007, a partnership that spawned deals with other hotels. The company now has 11 employees, and while it doesn’t advertise, it has found that the best method has been word of mouth among hospitality executives who tend to move from one property to the next. Just as someone might hear a Prescriptive track featuring an unsigned musician and use the Shazam app to track down the artist, hotel executives do the same. But they often ask one another.

“It’s all people who say ‘We love it’ and ‘Who do you use?’” Klevens said.

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DJ Mark got his start as a DJ in Los Angeles in 1988. “My friends in the UK were DJs and we used to go out clubbing a lot,” Lewis said. He dabbled in music as a kid, playing music at his sister’s birthday parties when he was 9 and 10. “I spun track on one turntable,” he said. After arriving in Los Angeles in 1988, He was given opportunities to guest DJ at clubs around the city. His first gig was spinning tracks at The Glenbar in Marina Del Rey, when he filled in for the resident DJ. He was quickly hired full time to replace the resident DJ. Soon, other club promoters found DJ Mark spinning at other clubs, and asked him to play at theirs – promoters from West Go West night at Millie O’Mallies in Santa Monica and Tramps club soon offered him jobs spinning on nights . “Between West Go West, Batcave, and Tramps, I had five gigs a week,” Lewis said.
As underground electronic music started to become more mainstream, record labels began coming out with music from Chicago, Detroit, New York, Belgium, Holland, and the UK. It spread to the west coast, where electronic music started showing u pin warehouse parties and large-scale downtown clubs.
“Steve and Joey Levy [from Moonshine Records] asked me if I wanted to start playing these underground clubs in the early 90s,” Lewis said “and I said ‘Yeah, absolutely.” Lewis then changed from playing at a mixture of clubs every night to playing more definitive electronic music.

“I’m really fortunate and lucky,” Lewis said about his journey as a DJ. “I had lots of opportunities given to me that propelled my career, and cemented that I can do this as a profession and no longer wait tables.”

In the 1990s, Lewis joined a record pool – a system in which all the major record labels created dance promo CDs, and once a month, members of the pool would receive the CDs and give feedback to the labels. Lewis was encouraged to join one by Moonpop, whom he considers both a mentor and an influence in his career. A year and a half after joining the pool, Lewis was offered a job in the pool. “A job like that had a lot of cache attached to it as a DJ,” Lewis said.

Lewis, later on, got the opportunity to take a position as a Billboard reporter. One of 60 in the United States, Lewis sent in charts that were used to compile the Top 50 Dance chart in Billboard Magazine. “It was a way to give feedback directly to the record labels,” said Lewis. This also gave him the opportunity to do early mixes with artists like Eurasia and Shakakan, as well as keep him on the forefront of dance music in the early 90s.

In the mid 90s, Lewis was a club promoter – brining DJs from the UK to play in the US. He worked with iconic DJs like Derek May, Frankie Knuckles, and Dave Morales. This opportunity propelled Lewis to the forefront of UK dance music, and truly distinguished him as a pioneer in the DJ movement.

While a pioneer of dance DJ music, Lewis is influenced by many of his peers in the industry, like Paul Oakenfold, Tony Humphries, and Carl Cox, as well as producers and label directors like Leslie Doyle. “They seared me in a direction to keep an open ear and to always be inspired by other DJs,” Lewis said.

Lewis’s style can best be described as “uplifting, sexy, and forward thinking.” “I keep an open mind and try not to get pigeonholed as just a “trance” or “house” or “techno” DJ,” Lewis said. His music is very cutting edge: its melodic with strong harmonies based around serious songs. It’s progressive and very upfront with a wide mix of music. “It’s all about taking people on a journey of sexy grooves,” Lewis said.

Currently, DJ Mark Lewis is working on publishing and becoming a manager; while he is playing less, he still is keeping his finger of the pulse and trends of dance music, and working with the new wave of DJs and songwriters. “It enables me to be able to be in a position where I can take my own catalog and new talent into the licensing of film and tv and video games and multimedia content,” Lewis said. “Intellectual property is moving forward with the digital age.”

DJ Mark Lewis is also co-producer of Prescriptive Music’s Aqua Sunday events at the JW Marriott at LA Live. Lewis said that while it’s not a huge event like running a club, his work with Allen Klevens and Chemistry promotional group pulls together “amazing talent” to create fun events that have potential to expand.

“DJing is always my first passion,” Lewis said. “Always evolving, as an artist, is what you aspire to be, so new doors can open and so you can keep being inspired,” he said. As a musician, Lewis is interested in the psychology and science of dance music, and the powerful role it plays in bringing people around the world together. “It’s the essence of what the DJ does and creates the energy of the dance floor: it’s the escape and release of everyday life, and bringing people together to share the love,” Lewis said.

After 25 years in the dance music industry, DJ Mark Lewis is still a pioneer and at the forefront of the music scene, whether spinning tracks at a club, or producing music in a studio.

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The event, held this year on June 27, 2011 at North Ranch Country Club in Westlake Village, raised money and awareness for the City of Hope Comprehensive Cancer Center in Duarte, Calif. Over the past eight years, the Foundation has raised and donated nearly $1,5000,000 to the City of Hope.

The Cheesecake Factory Oscar And Evelyn Overton Charitable Foundation's 9th annual golf tournament and charity auction fundraiser

Prescriptive Music supplied music for the silent auction, which was held outside the clubhouse. Silent auction items included a gift card to Osteria Mozza, Laker tickets, a Chanel purse, and a Toyota Prius.

The live auction featured items like dinners for 10 people at Grand Luxe locations and private cooking lessons with the chef at Rock Sugar, both restaurants part of The Cheesecake Factory family, and a dinner with David Overton, CEO and founder of The Cheesecake Factory.

Allen Klevens and David Overton, CEO, President and Chairman of The Cheesecake Factory, Inc.

Prescriptive Music provides Cheesecake Factory locations with an eclectic mix of fun and laid-back tunes, creating a comfortable environment for cheesecake lovers of all ages.

Silent Auction outside the clubhouse of North Ranch Country Club in Westlake Village, CA for the The Cheesecake Factory Oscar And Evelyn Overton Charitable Foundation auction fundraiser.

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This year CUT by Wolfgang Puck at the Beverly Wilshire turns the big five. In celebration, sommelier Dana Farner will treat hotel guests to an informal Summer Sommelier Series in sidebar, beginning Monday, June 6.

We hear that four events will be hosted, each focusing on different regions around the world. Up first will be California featuring the Ramey Hyde Vineyard Chardonnay, Carneros, California 2006 and the Bridesmaid Cabernet Sauvignon, Napa Valley, California 2006.

Monday, June 20 will zero in on Argentina, while Monday, July 11 focuses on France. The whole event will wrap on Monday, July 25 with selections from Austria. Chef Ari Rosenson of CUT will prepare a special tasting menu for each event.

Jennifer Cooke, PR Director at The Beverly Wilshire (left) and Mishel LeDoux, GM @ CUT

Allen Klevens, Prescriptive Music CEO (left), Ari Rosenson, Chef de Cuisine @ CUT

Sommelier, Dana Farner celebrating the opening day of  her Summer Sommelier Series

Chef Ari’s Fava Bean Hummus Crostini… obviously enjoyed

Dark chocolate souffle at CUT.  Ahhhh-mazing

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Representatives from Prescriptive Music were pleased and honored to attend the conference, and did so with their own full-color, full-sound display booth and a new concept – the upcoming Vibe Collection, which will ideally be used in spas and hotels.

The conference was a perfect opportunity for Prescriptive Music to firm relations with current clients and make contacts with new Spa owners and managers, and they did just that. After showcasing his company’s booth and networking for 4 days, CEO Allen Klevens anticipates plenty of new clients calling Prescriptive Music to program the perfect vibe for their spas in the near future.

This year the conference took place at the beautiful Gaylord National Hotel and Convention Center in Maryland, where soaring ceilings and grand glass windows overlook the Potomac River. The ISPA Conference ended with an incredible firework display over the river, which for Prescriptive Music symbolized a celebration of the bright future to come. Join some of the most notable spas in the world and call Prescriptive Music to program the ultimate musical vibe for your spa today!

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Decor of the hotel set to open soon is ‘authentically fake.’ Features include a red velvet curtain over the grand staircase and old-fashioned record players in rooms with vinyl albums to play on them.

Celebrity photographer and music video director Matthew Rolston, who is helping a Los Angeles developer launch a hotel, hates beige. Or anything else that could be considered a safe choice in decorating.

That’s why Rolston is doing his best to make sure the tone of the new Redbury in Hollywood goes over the top and stays there, in no way resembling an outpost of a big hotel franchise. Guests can expect, for example, a 20-foot red velvet curtain over the grand staircase, paisley throw pillows and old-fashioned record players in every room with vinyl albums to play on them.

As eclectic as the look is, it’s not meant to be one of a kind. The owners of the hotel, CIM Group — Hollywood’s biggest commercial landlord — and its manager, Sam Nazarian, say they plan to open five similar hotels in New York, Washington, Dallas and San Diego.

“Matthew and I worked very quickly and closely to find the DNA of this brand that we can roll out into multiple markets,” Nazarian said. The Redbury is scheduled to open by the end of the month.

The sensibility Rolston went for is a mix of bohemian, 1960s flower power and old Hollywood. It’s a concoction meant to attract guests in creative industries who need to settle in town for extended stays. He hopes to make the place homey and hip.

Although it has become a compliment to say that a decor feels “authentic,” Rolston is having none of it.

“So many people are using the word authentic right now it makes me laugh,” Ralston said. “This is Hollywood. The Redbury is going to be authentically fake — in a fun, entertaining way.”

Sam Nazarian & Allen Klevens

Nazarian called on Rolston to jump into the project to liven it up like a Hollywood script doctor. The five-story building at the famed intersection of Hollywood Boulevard and Vine Street was being completely rethought before it was even completed.

It had been originally envisioned as a $50-million condominium building and extended-stay hotel by its previous owner, Palisades Development, which lost control of the property in the recession when it was about 80% complete. CIM snatched it up in February for $15.8 million.

Separately, CIM is among the firms that paid middleman Alfred J.R. Villalobos to win investment money from the California Public Employees’ Retirement System. The state has named Villalobos in an influence-peddling lawsuit, but CIM has not been accused of wrongdoing.

Ralston made up the hotel’s name by crossing “red” for the color of the building with “bury” from Haight-Ashbury. Every suite will have washer-dryer units and kitchens outfitted with pots, plates and flea market tchotchkes. The concept is to mix luxury such as 300-thread-count Italian linens and Persian rugs with homey, boho touches like the record players.

“It channels Hollywood through a rock ‘n’ roll sensibility,” Rolston said.

The target clientele is young-skewing, independent types, Nazarian said, who would sometimes like to do their own laundry or cooking. If a guest wants pasta, for example, the hotel staff could send up all the ingredients.

“Travelers today want to have the option of doing it themselves,” he said.

Room rates will start at about $300 a night and hit $1,000 for two-bedroom suites. That’s competitive with the glamorous new W Hollywood, also at Hollywood and Vine, where rooms start at about $350.

The Redbury might seem an especially risky venture during a down economy, and indeed hotels have had a rough go since corporate and leisure travel started to dry up in 2008. But the hotel business is finally showing signs of improvement, said analyst Brandon Feighner of PKF Consulting.

“Hollywood is recovering faster than other areas,” Feighner said.

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USA Weekend  |  By Kelly Dinardo  |  Article Issue Date: December 20, 2009

Music may be the food of love, but do diners love to get a serving of Pink Floyd or the White Stripes with their main course? Well, forget just classical or jazz standards: More and more restaurant playlists include rock, country, hip-hop and other tunes that once were considered atypical.

“In a restaurant, all of your senses should be stimulated,” says Wolfgang Puck, who loves to play the entire “Dark Side of the Moon” album in his restaurants. “The food should taste good. The restaurant should look good. The music should sound good.”

Mozart, Frank Sinatra, Led Zeppelin, Patsy Cline, Kanye West. Although the music should sound good, there’s no consensus about what that means. Often restaurateurs turn to professional music consultants or DJs. Sometimes the chef or a music enthusiast on staff takes control. But across the board, a broad range of musical choices can be heard at restaurants.

“I don’t see any music being excluded from a restaurant,” says Tom Miner, a principal with Technomic, a marketing, research and consulting firm for the food service industry. “There’s an appropriate venue and time for any type of music. It’s about the right music for the right audience.”

“Fine-dining restaurants can be intimidating,” says Scott Drewno, executive chef at Puck’s The Source in Washington, D.C. “We want you to have fine food and fine dining service, but it doesn’t have to be regimented. We want you to have fun while you’re eating and not be too stuffy. Upbeat music keeps the atmosphere fun. It’s very important that the food comes first, but it doesn’t have to be uncomfortable.”

Sound technology and better music systems also play a role. “With recorded music, you can take hard-charging, exciting music and dial back the volume on your system to a pleasant level,” says Eric Felten, musician and author of “How’s Your Drink?: Cocktails, Culture and the Art of Drinking Well.” “It’s soft, but the energy of the music is there. The ability to play rock or club music over a system lets you play exciting music without taking over the dining experience.”

Chefs like Puck and Mario Batali, who were at the forefront of bringing modern music to upscale restaurants, are leading the charge. Puck may be partial to Pink Floyd, but he spins tunes that range from Mary J. Blige to Rod Stewart.

Batali mixes it up, too. “We play everything from Frank Sinatra to Jane’s Addiction, depending on what time of the evening it is,” he says. “I think it feels good to be in a restaurant where the music isn’t an afterthought. But we don’t take requests.”

Prescriptive Music programs all of the music for Wolfgang Puck Fine Dining

Wolfgang Puck’s playlist:

Nirvana, Come as You Are
Lenny Kravitz, American Woman
Beck, Loser
David Bowie, Young Americans
U2, All Because of You
Red Hot Chili Peppers, Aeroplane
The Rolling Stones, Tops
The Kinks, Lola
Pink Floyd, Goodbye Blue Sky
The Police, Roxanne

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Above: Ari Rosenson (Chef De Cuisine) , Allen Klevens, Wolfgang Puck

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