If you've been reading The Second Disc for some time, you know that one of our highlights is The Weekend Stream, our spotlight of catalogue material that makes its way - either first or primarily - to streaming and download services. The TSD team has the shelves to prove our love of CDs or vinyl, but the joy of discovering a lost classic or future favorite from the past is what really drives us, and The Weekend Stream is run in that spirit. And it might not run at all if not for the help of one man: Timothy J. Smith.

Smith was, for more than a decade, a member of the team at Sony Music's Legacy Recordings, part of a 26-year tenure with the company as a whole that also included managing packaging data and sample clearances at Epic Records. In his time as an A&R director, he helped the team put a focus on digital catalogue research and development, identifying obscurities from CD singles that never made the jump to Apple Music or Spotify as well as vintage LPs and 12"s with material that only ever stayed on wax for years. Smith's willingness to share a weekly rundown of what was being shuffled through the system helped our robust coverage of digital delights.

Earlier this year, Smith struck out on his own to start SuperVisible Multi Media, a new consultancy that works directly with artists to enhance and streamline an artists' digital offerings as well as offerings of anti-piracy solutions, artist services and sync licensing opportunities. (The latter point is a cause close to Smith's heart; he earned two Grammy nominations in 2019 for compiling Legacy's soundtrack releases for the Best Picture nominee Lady Bird and the second season of the Netflix series Stranger Things.) Today, ahead of our usual Weekend Stream reportage, we're pleased to share the first title SuperVisible has helped resurrect: 1965's The Songs of Wynn Stewart, the first proper LP by the country singer/songwriter after a decade of single releases including the country Top 5 "Wishful Thinking." (Stewart would later score a No. 1 on the genre chart with 1967's "It's Such a Pretty World Today," and most importantly is considered a forerunner of the Bakersfield sound later popularized by the likes of Buck Owens and Merle Haggard.)

To celebrate, Smith was kind enough to sit down with TSD and share his tricks of the trade, as well as some important thoughts on what makes this work not only fulfilling, but vital.

Hey Tim! Give us the elevator pitch for SuperVisible. How'd you come up with the name?

Hey Mike D! First off, really appreciate you taking the time - I've been a longtime fan of The Second Disc and of your work in general, so this is a real pleasure.

SuperVisible Multi Media is all about helping great "lost" music get heard again. We work with artists, estates, and sometimes brands to bring overlooked or hard-to-find albums and tracks back into the digital world - onto streaming platforms and digital stores - so people can rediscover them.

A lot of these recordings are just sitting in the vaults, not being shared because the rights holders - usually the labels - aren't prioritizing them. So we step in, on behalf of the artist or estate, and do the legwork to make sure the music is properly represented and available. It's about respect for the art and getting it in front of listeners again, in a way that makes sense creatively and financially.

As for the name - SuperVisible just felt right. The goal is to take music that's been forgotten or buried and make it visible again. Not just visible - super visible. That clarity and purpose are really at the heart of everything we're trying to do.

When did you first get involved in catalogue work?

When did I officially get involved? Probably when I started working at Sony Music and Legacy Recordings right out of college. But unofficially? Way before that. (laughs) I've been deep into catalog stuff since I was a kid - back in the days of Adam & The Ants and early U2. I'd notice weird little details like non-album singles or import B-sides, and I started making my own "expanded editions" on Maxell cassettes. That was basically my DIY version of Spotify, way before any of us knew streaming would be a thing.

So when I landed at Sony, it felt like a natural extension of what I'd already been doing for years - just with actual resources and a much bigger archive to dig into. For a music nerd like me, it was a dream come true.

What are the best lessons you took from your time at Sony?

I spent over 25 years at Sony Music, starting back when a CD could sell a million copies in a week - which is kind of wild to think about now. Over the years, I watched the industry go through some massive changes, from physical to downloads to streaming and beyond. But through all of that, the biggest thing I learned is that you've got to stay curious. You can never think you've got it all figured out.

That student-of-the-game mentality stuck with me. It's really shaped how I approach things at SuperVisible - being open, paying attention to the details, and always trying to learn something new, whether it's from a legacy artist's catalog or a shift in how people listen to music today.

You call your process "SoundSmithing." That involves both catalogue addition and asset clean-up?

Absolutely. For me, making streaming audio feel complete is just a natural part of working with catalogue. That means doing both - filling in what's missing and cleaning up what's already there. It could be anything from fixing incorrect release dates to clarifying version types - like if it's a live take, a remix, a re-recording - so that listeners actually know what they're hearing.

If the audio itself needs a refresh, we look at that too, but always one step at a time. The goal is to bring clarity and context, so people can experience the music the way it was meant to be heard - not as a jumbled mess on a platform.

What sparks your interest when identifying opportunities for an artist's catalogue?

Great question. I've always had this kind of internal radar for the overlooked stuff - the "audio underdogs" that didn't get their due the first time around. Just because something wasn't a hit back then doesn't mean it doesn't have value now. A lot of the time, it's just about putting it in the right context.

Sometimes a track just needs a little cleanup, a proper description, or to be part of a more thoughtful collection - and suddenly it clicks with someone. I love that. It's about giving the music a second shot to connect, and letting its original character come through in a way that feels fresh again.

Do you find that most of the artists you approach or work with are open to the process, or do they have to be convinced? I'm sure untangling the wheres and hows of getting your catalogue cleaned up can be tough, especially if you're not, like, a major, major artist.

It really depends. Some artists are totally dialed in - they understand streaming, they know what's out there, and they're already thinking about how their catalog fits into that world. Others? It's more like, "Wait... I totally forgot about that record!" (laughs) And then there are estates, who are usually deeply committed to preserving the legacy but totally overwhelmed by the legal and logistical side - especially with all the label mergers and rights changes over the years.

The thing is, after 25 years inside the major label system - helping build some of those same confusing mazes - I know how to navigate them. That's a big part of what SuperVisible does: we advocate for the artist or estate, while also helping labels see the value in what's been sitting idle. And honestly, when I explain that if they don't take control of getting these recordings out there, some well-meaning fan will probably upload a scratchy vinyl rip to YouTube - and no one gets paid because there's no official digital version - that usually gets their attention. It's not about pressure, it's about showing them there's a better way to share the music and actually benefit from it.

What are some of the typical, day-to-day challenges of this work? Do you find that answer changes depending on whether or not the material is controlled by a major label or not?

Honestly, every day is different. Each label has its own way of working - some move fast and totally get what SuperVisible is about, while others don't really see catalog revival as a priority. That doesn't stop us; it just means we have to tailor the conversation depending on who we're talking to. The challenges also shift depending on who controls the material. If it's with a major label, you're often dealing with layers of rights, old contracts, and internal priorities. If the artist or estate controls it, the process can be more nimble - but they might need more help understanding how to actually do it all.

At the end of the day, it's not about me - it's about doing right by the artist. Helping keep their work available, discoverable, and earning is part of why some of these labels are still even in the game. It's not personal - it's the business of artist history. And I take that seriously.

Can you give us an example of provable gains from an artist's digital catalogue clean-up?

Great question. I think most of us - especially TSD readers - agree that no one needs to see the same track show up 15 times across random compilations on streaming. It just clutters things and confuses listeners. The real goal is to build a strong, clean core catalog and then focus on key compilations that actually make sense and add value.

Every project is different, but one that stands out is Ellington in Order, which I worked on with Chuck Granata at Legacy. It was all about officially releasing clean, high-quality versions of Duke' Ellingtons vintage recordings in the right sequence - and pushing back against the flood of bootlegs and low-quality uploads that had been out there for years. That kind of project really shows what's possible when you approach the work with care.

Just because something's old doesn't mean it should be mishandled or exploited. That's the kind of work I want SuperVisible to keep doing - bringing clarity, quality, and respect to music that deserves it.

SuperVisible offers "artist services." What does that mean, in layman's terms?

SuperVisible is definitely still evolving - we like to joke that it's our own version of a "developing artist." (laughs) But the mission is pretty clear: we help artists and estates find new opportunities in their existing work. That could mean getting missing music onto streaming, cleaning up how their catalog appears online, or helping them tell their story in a way that connects with both longtime fans and new listeners.

When we say "artist services," we mean being a hands-on partner - someone who knows the ins and outs of the industry and can help navigate it. We're not just here for a quick release; we're in it for the long game. It's about building something lasting. That's why we like to think of what we do as essential catalog - because we're focused on helping the work stay visible, valuable, and respected.

How will SuperVisible's day-to-day mesh with your recent background working on the compilation of soundtracks for Lady Bird and Stranger Things?

The Lady Bird and Stranger Things compilations, honestly, felt like my modern-day, widely shared mixtapes - and that's something I'd been doing for decades. Maybe it's the Gladwell 10,000-hour rule, or maybe it's just this simple truth: it's always about flow, feel, and staying true to the original vision. The smart music supervisors and directors gave me the building blocks, and I put together the sonic house.

At their core, both projects rested on four things I really believe in: knowing the artist's or project's story inside and out, collaborating closely with everyone involved, communicating clearly, and bringing genuine passion. That's the exact blueprint we follow at SuperVisible. I never dive into a project without doing my homework - I want to fully understand the artist or estate. From there, it's about figuring out what we can build together.

And passion? That shows up almost immediately - usually within the first seven seconds. (laughs) I don't hide it, and I don't try to. It's just who I am.

Wynn Stewart is the first artist you're working with through SuperVisible. How did you connect? What can fans expect with that catalogue?

I actually connected with Wynn Stewart's daughter, Wren, through Melissa Luman Phillips - she's Bob Luman's daughter. Both women are incredible and deeply committed to honoring their dads' legacies in country music. Back when I was at Legacy, I helped get Bob Luman's missing Epic albums onto streaming platforms. A few years later, I noticed Wynn's Capitol catalog was also missing. So now, working with Wynn's estate and Universal, we're finally bringing his classic original albums to streaming for the first time, releasing one every few months. It's a long-overdue digital homecoming for his music - and a great way to kick things off with SuperVisible.

I recently caught up with Wren and Melissa in Nashville at the Next Generation: Sons and Daughters of Country Legends show. It was historic and heartfelt - a real reminder of why this work matters so much.

Are there other artists we can expect to see working with SuperVisible? You're known in particular for your love and work for acts like Cheap Trick, Eric Carmen and Ben Folds...

Michael - I love ya, trust ya, and you're definitely speaking my language. That said, when it comes to future collaborations, SuperVisible's keeping things under wraps for now. What I can say is this: exciting stuff is definitely brewing. New partners are coming on board every week, and you better believe nothing's slipping past The Second Disc. And hey, if anyone out there has recommendations, questions, or just wants to say hi, we're all ears - send them our way at supervisiblemm.com.

You've been working in the music industry for many, many years. What's the secret to staying as stable and fulfilled as one can in a business of constant flux?

I tell my two bright teenage daughters this all the time (probably more than they want to hear): choose a job you love, and you'll never work a day in your life. Sure, it gets tough sometimes - no doubt about that - but the key is trusting your gut and staying driven by purpose. Try to be the person people want to come to, not avoid. And if things feel rough? Sometimes the best answer is right there in your own vault - those overlooked gems you haven't dug up yet. You just have to dig a little deeper.