CONTENTS
Informing Music People Since 1977 -ARCH s 6OL s .O
Industry Profile
Haim The trio of sisters that comprise this blossoming act speak candidly about their unlikely rise from bottom-of-the-bill club band to platinum-selling headliners.
By Daniel Siwek
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MC explores how music cruises have become a major chunk of the cruise ship business.
36
By Brett Bush
#OVER 0HOTO *ONATHAN 0ILKINGTON s !BOVE "ELLA ,IEBERBERG
Departments
Management Contracts Drop that pen! Before you go and sign that questionable management contract, remain calm and be sure to read this essential, advice-packed Music Connection article. It just might save your career.
By Bernard Baur
40
Directory of Managers & Booking Agents Compiled By Denise Coso
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20. Producer Crosstalk: The Cataracs . . . . . . . . . . . . . . . . . . . . . . . By Rob Putnam 22. Exec Profile: Tom Ingram, Viva Las Vegas . . . . . . . . . . . . . . . . By Andy Kaufmann 30. Songwriter Profile: Amy Stroup . . . . . . . . . . . . . . . . . . . . . . . . . By Dan Kimpel 44. Expert Advice: So You’re Ready For Management? . . . . . . . . . By Loren Weisman 78. Tip Jar: Be a Professional in 6 Easy Steps . . . . . . . . . . . . . . . By Nicholas Mason 4
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On The Blue
08. Close Up 09. Assignments 10. New Toys 14. Book Store 16. Up Close 18. Studio Mix 23. Business Affairs 26. Signing Stories 28. Song Biz 32. FilmsTVsTheater 34. Mixed Notes
Reviews 48. Album Reviews 50. New Music Critiques 52. Live Reviews
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The Rising Act
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The Hitmaker
“Definitely reading about other people’s trials and tribulations with touring and labels was a good thing for me, especially early on.” – Pete Wentz (Fall Out Boy)
The Producer
“I’ve been advertising my business there for 30 years. That speaks for itself how I feel about Music Connection.” – Skip Saylor, producer, owner, Skip Saylor Recording (Elton John, Dr. Dre, Death Cab For Cutie)
The Talent Seeker
“I signed an act to Maverick/Warner Bros. after discovering him through Music Connection’s ‘review’ section. Now as CEO of a ‘2.0’ digital label and music publishing company, MC is an excellent source of potential clients for our company.” – Scott Austin (CEO, Authentik Artists Inc.)
The Pro Player
“My favorite pages of MC are the endless lists of managers, agents, studios and of course the musicians looking for musicians section!” – Stephen Perkins (Jane’s Addiction, Porno for Pyros)
The Grammy Giver
“From the time I arrived in L.A., and as a young music industry executive, Music Connection was always a source of valuable information and news. Thirty-five years later, it’s still on my regular reading list.” –Neil Portnow The Recording Academy President/CEO
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E. Eric Bettelli PUBLISHER E. Eric Bettelli Mark Nardone GENERAL MANAGER / ADVERTISING DIRECTOR ericb@musicconnection.com
ASSOCIATE PUBLISHER / SENIOR EDITOR markn@musicconnection.com
Denise Coso John Curry OPERATIONS MANAGER / DIRECTORIES EDITOR denisec@musicconnection.com
ART DIRECTOR artdirector@musicconnection.com
Andy Mesecher
Steve Sattler
ASSOCIATE EDITOR
BUSINESS DEVELOPMENT MANAGER
Barry Rudolph
steve@creativesalesresource.com
Mukul Chauhan DIRECTOR OF ONLINE OPERATIONS mukulchauhan16@gmail.com
andym@musicconnection.com
NEW TOYS barry@barryrudolph.com
Bernard Baur CONTRIBUTING EDITOR bbatmc@aol.com
Mira Abas Dan Kimpel
SOCIAL MEDIA MANAGER
miramcmag@gmail.com
SONG BIZ dan@dankimpel.com
Jessica Pace &),- s 46 s 4(%!4%2 j.marie.pace@gmail.com
FEATURE WRITERS
Andy Kaufmann andy.kaufmann@comcast.net Rob Putnam toe2toe6@hotmail.com Editorial Interns Siri Svay intern@musicconnection.com Jake Hansen intern@musicconnection.com CONTRIBUTING WRITERS Carl Anthony, Allegra Azzopardi, Bernard Baur, Brett Bush, Gary Graff, Eric A. Harabadian, Corey Irwin, Ted Jamison, Oscar Jordan, Andy Kaufmann, Jessica Pace, Victoria Patneaude, Rob Putnam, Adam Seyum, Daniel Siwek, Vincent Stevens, Brian Stewart, Laurier Tiernan, Brooke Trout, Albert Vega, Jonathan Widran, Ellen Woloshin PHOTOGRAPHERS Allegra Azzopardi, Bernard Baur, Daren Cornell, Jody Domingue, Jim Donnelly, Kevin Estrada, Corey Irwin, Oscar Jordan, David Klein, Tony Landa, Dave Long, Thomas Long, Jessica Pace, Scott Perham, Rob Putnam, Alexander G. Seyum, Danny Seyum, Mark Shiwolich, Daniel Siwek, Brian Stewart, Dave Stone, E. H. Tiernan, Paula Tripodi, Brooke Trout, Albert Vega, Ellen Woloshin
MANUFACTURED AND PRINTED IN THE UNITED STATES OF AMERICA Music Connection (ISSN# 1091-9791) is published monthly by Music Connection, Inc., 3441 Ocean View Blvd., Glendale, CA 91208. Single copy price is $3.95, Canada $4.95. Subscription rates: $35/one year, $59/two years. Outside the U.S., add $25 (US currency) per year. We are not responsible for unsolicited material, which must be accompanied by return postage. All rights reserved. Reproduction in whole or part without written permission of the publishers is prohibited. The opinions of contributing writers to this publication do not necessarily reflect the views of Music Connection, Inc. Copyright Š 2014 by E. Eric Bettelli. All rights reserved. Founded by: J. Michael Dolan / michael@jmichaeldolan.com
NEW CORPORATE HEADQUARTERS 3441 Ocean View Blvd., Glendale, CA 91208 Office: 818-995-0101 Fax: 818-995-9235 Email Address: contactmc@musicconnection.com Website: http://musicconnection.com Legal Counsel: Christopher J. Olsen / chris@chrisolsenlaw.com Thousands of artists have been reviewed by Music Connection. To read the reviews and get your music reviewed, go to http://musicconnection.com/get-reviewed. Music Connection does not charge a fee for reviews. 6
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THE BOLD SHAPE OF PERFORMANCE
M U LT I P U R P O S E S E L F - P O W E R E D S O U N D R E I N F O R C E M E N T
More than just another great JBL sound system, the new EON615 is a true step forward in technology developed specifically to deliver the best sound possible regardless of its application. Completely rethinking how truly good an affordable selfcontained, portable PA system can be, JBL engineers purposely designed and built the EON615 from the ground up featuring JBL’s advanced waveguide technology, JBL designed and manufactured transducers, and convenient, wireless remote control of its onboard DSP EQ parameters via Bluetooth. This total redesign of the EON platform leverages the latest technologies in cabinet materials, acoustic science, transducer design and user friendliness that delivers the extraordinary quality of a high-end studio monitor in a fully professional, highly flexible, easy to use, portable system for today’s working musicians and sound providers.
REVOLUTIONARY WAVEGUIDES The EON615’s extraordinary performance results from a breakthrough approach to waveguide design for both high frequency and low frequency components. The result is consistent HF and LF response and high intelligibility throughout its entire 90 degree coverage pattern. These characteristics are the foundation of high-end studio monitor sound, now available for the first time in a portable, affordable system.
BLUETOOTH CONTROL
PURPOSEFUL DESIGN
© 2014 HARMAN INTERNATIONAL INDUSTRIES, INCORPORATED
Learn more at jblpro.com/EON600 TYPICAL EON615
FLEXIBLE BACK PANEL
– JONATHAN WIDRAN
STANFORD COURT HOTEL MIKLOS MALEK http://stanfordcourt.com By Jonathan Widran
WHAT’S NEW: After three successful seasons as a judge and artist mentor on The X-Factor, the wildly popular U.K. based show’s Hungarian version, veteran songwriter, producer and mixing engineer Miklos Malek is looking for the next music superstar. “Auditioning thousands of people, and helping my contestants win the show and the audience’s heart gave me a new perspective on what today’s artists need to become successful.” PROFESSIONAL BACKGROUND: Since launching his career in N.Y.C. in the early 2000s, Malek—who has lived and worked in Los Angeles since 2006—has worked with a wide variety of artists from a multitude of genres, from R&B/pop to country, world music and global pop. Signing with Notation Music Publishing led to his breakthrough as a co-writer and arranger of Anastacia’s “I Thought I Told You That” (featuring Faith Evans) and opportunities to work with Jennifer Lopez (“Love Don’t Cost A Thing”), Pixie Lott, Dream, M2M and country singer Jessica Andrews.
S
an Francisco Centric Hospitality: Last June, Highgate Hotels, which runs more hotels in Manhattan than any other management company, transformed the old-school Marriott Renaissance Hotel in San Francisco’s iconic Nob Hill into a brand lifestyle hotel for those seeking “intelligent luxury.” With 365 renovated rooms and 28 suites, Stanford Court––located at the corner of California and Powell––offers an authentic S.F. experience with a modern perspective, featuring high-tech amenities, partnerships with local purveyors (including locally sourced food and liquor from St. George Spirits and Hangar One vodka, both in Alameda) and luxurious yet comfortable accommodations. Guest rooms have a 37-inch LCD TV and marbled bathrooms. Let’s Hang In The Lobby: The Stanford Court’s lobby lounge is a lively space for relaxed living, eating and connecting, with complimentary Apple Computers, iPads and free WiFi, communal tables and loungestyle seating; regional wines, spirits and craft beers; and artwork by up-and-coming S.F. artists, including work featuring six skateboard decks, each featuring an iconic image of a city landmark. The lobby’s design integrates live-feed video footage from the hotel’s rooftop camera capturing spectacular real time views of the bay and Nob Hill neighborhood, as well as the Financial District and Telegraph Hill.
Artists and Bands of in the Culture: Marketing managerwith Austin Launching his firstAre L.A.Part studio Hollywood, he began working a wide Phillipsofsays, “We are artists, locatedinaaddition block from the Graham, Masonic Janice Auditorium, which variety independent to Kat Dickinson is now run by Live Nation,years, and are a perfect destination forproduced artists andartists musiand Tata Vega. In recent he has also written for and ciansJapan, who play are looking for a friendly, modern hotel that fits all from his there nativeand Hungary and Poland, in addition to instrumental needs. also close superstar Yanni. Currently, he is developing newtheir artist AnikaWe’re Wilmore. to The Warfield on Market Street,ofwhich is onemusicians of San FROM THE BEGINNING: Malek grew up in a family renowned Francisco’s top concert in Budapest. After receiving a master’s degree in classical piano at the venasat other smaller Franz Liszt Academy of Music, he moved to theues, U.S.astowell study Berklee. music venues. We have a open area in front HIS INSPIRATION: “I started playing the musiclarge my parents listened toof thewith hotel forears easyofloading when I was very young, and I still listen to music the a kid, andtounloading, which makes experiencing the same emotions that inspired me get into the business. us because popular with theend crews I want to work with artists who can move people, at the of the thatme work the big day it’s about energy and emotion. Nothing gives greater joyshows.” than to help artists realize their potential.” Contact Austin Phillips, 415-732-4045 Contact Miklos Malek c/o Katarina Klisowska, 213-925-5576 88
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Alyssa Holtgrewe
Marco Barbieri
Wind-up has added Alyssa Holtgrewe to the staff as Mid-West Manager of Promotion. Holtgrewe started at KIBZ in her hometown of Lincoln, NE in the ‘90s and continued to work at various radio stations including KTZO and WRXL before switching to the label side where she began working as the Mid-Atlantic rep with Universal Motown in 2006. She was promoted to West Coast in 2008. She left the company in 2010. In March 2013 she began as the morning show co-host at KZKX in Lincoln, NE. Says Holtgrewe of the promotion, “I couldn’t be more thrilled at this opportunity to join the amazing staff and roster of artists at Wind-up!” For additional information, contact jlichtenstein@winduprecords.com.
Century Media Records has annnounced the return of Marco Barbieri to the company to assume the role of Label President. Barbieri led the label from 1995 - 2007. In that time Century Media enjoyed some of their most profitable years, signing and developing a large number of bands. He will oversee the creative from content through marketing, artist development, relations and develop the core focus of Century Media. In his time away from the label, Barbieri moved back to Las Vegas to work on his family’s property management and investment business, in addition to managing several successful touring/recording acts and promoting local shows. See http:// centurymedia.com for further details.
Dave Poe
Fred Beteille
Alex Hodges, CEO of Nederlander Concerts, a family-owned West Coast promoter, has announced the addition of Dave Poe to the team as a Talent Buyer. Poe will book and promote live entertainment for several Nederlander venues including The Greek Theatre and the Pantages Theatre in Los Angeles, City National Grove of Anaheim and City National Civic of San Jose, plus third party facilities including Galen Center at the University of Southern California, Long Beach Terrace Theater, San Diego Civic, RIMAC Arena at UC San Diego and Raley Field in Sacramento, among others. For further information on this appointment, contact Vanessa Kromer, vkromer@nederlander.com.
The Music Business Association (Music Biz), formerly NARM and digitalmusic. org, has added Fred Beteille, Product Manager at YouTube, to its Board of Directors. This addition expands the Music Biz Board to 19 members representing different parts of the spectrum of music commerce, including physical and digital as well as content companies. As a Product Manager at YouTube, Beteille helps spearhead music and rights management products and initiatives. Prior to joining YouTube, he was Senior Vice-President of Operations and Technology at the Google-acquired RightsFlow, overseeing the company’s licensing and royalty administration functions and technologies. Contact laurie@jaybirdcom.com.
Mallory Zumbach
Matt Ward
Round Hill Music has announced the promotion of Mallory Zumbach to Senior Director, Creative. In this role she will continue to advance the company’s creative synchronization efforts out of the New York office. Zumbach began her career as the Digital Sales & Marketing and Synch Coordinator at One Little Indian Records, where she worked with an eclectic roster of artists on everything from synch placements to digital marketing campaigns. She then spent over four years in Warner/Chappell Music Publishing’s Strategic Marketing department, where her focus was on pitching and clearing songs for use in advertisements and video games. Prior to starting at Round Hill Music, Zumbach spent a little over a year in Interactive Business Affairs at Crispin Porter + Bogusky. Contact lily@golightlymedia.com.
Audio plug-in developer and analog modelling specialist Brainworx has announced the appointment of former Universal Audio, Inc. president Matt Ward as CEO of its newly formed U.S. division, Brainworx USA. Prior to his 10-year tenure in executive management at Universal Audio, Ward worked in product management for other prominent companies in the professional audio and music industries, including Studer Revox, Otari and E-mu Systems. More recently, he served as a strategic advisor to Manley Labs and PreSonus. Having already started Brainworx USA, February 2014 saw new CEO Ward and Brainworx owner Ulrich opening a new office in Scotts Valley, CA to assist with focusing on business development and growth strategies. Contact jonathan@millermusicandmedia.com.
Michael Weiss
Mark Brown
Musician’s Friend, Inc. (MF), a direct response retailer of musical instruments and gear in the U.S., and a division of Guitar Center, has announced the appointment of Michael Weiss to Vice President, Marketing. Weiss is an accomplished musician who has played in front of large audiences across the country for more than 20 years. He has worked in the entertainment industry as a story editor and script analyst, working with Quincy Jones, Jerry Bruckheimer, Arnold Kopelson and Propaganda Films. As a regular TEDx Talker, teacher and speaker, he has spoken to thousands of people all over the United States. Contact pherscher@ guitarcenter.com for more information on this appointment.
Mark Brown has joined the Round Hill Music team as Vice President and General Manager of the company’s new Nashville office. A veteran of the Nashville music scene, Brown joins the company from MPR Entertainment Group’s publishing arm, Root 49 Music, where he spent three years as Chief Creative Officer. Brown has worked extensively in both publishing and A&R throughout his career, notably spending time within Warner/Chapell’s Music Publishing arm, serving as Creative Director for Universal Music Publishing Group, as well as Senior Director of A&R for Sony Records. Brown joins Director of A&R, Kari Smith, who joined Round Hill Music in Spring of 2013. Contact lily@golightlymedia.com.
Manager of Promotion, Mid-West Wind-Up Records
Talent Buyer Nederlander Concerts
Senior Director, Creative Round Hill Music
Vice President, Marketing Musician’s Friend, Inc.
Label President Century Media Records
Board Member The Music Business Association
CEO Brainworx
VP, General Manager, Nashville Round Hill Music
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– BARRY RUDOLPH barry@barryrudolph.com
GENELEC M SERIES ACTIVE MONITORS The first two models in the Genelec M Series Bi-amplified Active Monitor line are the M030 and the larger M040. They both use a Natural Composite Enclosure™ manufactured for Genelec in Finland from wood fiber and recyclable material. The M030 and M040 have rounded edges and gently curved front and sides to minimize cabinet edge diffraction and foster better sound imaging. Automatic voltage selection allows the monitors to operate throughout the world and there is auto power on/off with standby power consumption less than 0.5W. The M030 has a five-inch woofer and 0.75-inch metal dome tweeter powered by 50 and 30-watt Class-D amplifiers. It has a frequency response of 58Hz to 20kHz. The bigger M040 goes with a 6.5-inch woofer and one-inch metal dome tweeter powered by 80-watt and 50-watt Class-D amplifiers and a response of 48Hz-20kHz. Additionally, the M Series have intuitive room response controls and system calibration with both XLR/TRS and unbalanced RCA inputs. The Genelec M030’s sell for $695 each while the M040’s run at $995 each. http://genelec.com/products/m040
GODLYKE TWA FLY BOYS MINI PEDALS Totally Wycked Audio has five new mini stomp pedals that are ultra-compact and super-affordable. All feature lightweight, extruded aluminum cases that are a perfect fit for crowded pedal boards or carrying in your gig bag. I like the quality build, ruggedness and the true bypass switching that stays out of the way of your tone chain. I tested all five starting with the Distortion SC-01 model. With its Marshall-style distortion, the SC-01 makes a good “inter-pedal” effect for jumping up the sound with almost clean gain to full, fry-level distortion. SC-02 Overdrive is a classic tube-amp overdrive with both Warm and Hot modes: totally different soundscapes with clean gain all the way up to crunchiness. The SC-03 Echo has up to 600 milliseconds of delay. It’s a super quiet and clean analog echo unit with a Wet/Dry and Feedback controls. The SC-04 Chorus pedal has a good range of depth and speed/rate control and a separate Dry/Wet knob. All the lush, vintage-style chorusing is here in a very small package. SC-05 Metal is an ‘80s-style, high-gain distortion with Lo/Hi Boost switch. There are loads of tone and sound shapes juggling between the Distortion knob, the three Boost switch positions and the master Tone control. It sounds good even when I record it direct with no amp. All pedals require a 9V power supply connection and each sells in a range of $89 to $99 MSRP. http://godlyke.com
DEAN MARKLEY SIGNATURE SERIES STRINGS Dean Markley’s Signature Series are strings for bass guitar. These use nickel-plated steel slowly wound over a hex core with a unique core-to-wrap ratio. By crafting the wrap wire over a steel hex (six-sided) core, the wrap wire is able to provide 100%, intimate contact with the core to insure maximum transfer of tone and sustain. Electroplated with pure nickel allows for better tone and output plus adds durability by resisting oxidation. Dean Markley’s Signature Series are available in an assortment of gauge sets for four at $14.99 MSRP and five string players at $18.99. http://deanmarkley.com
FABFILTER PRO-MB
FabFilter Pro-MB is a multi-band compression/expansion plug-in that can be used for both mastering or individual tracks in your mix. Either compression or expansion can be applied to vocals, synth sounds and drum kits in up to six, fully adjustable audio processing bands. Each band of dynamics processing can be transparent for mastering or radical sounding for pumping upward compression and punchy gating. There is an external side chain key input for triggering defined by a certain frequency range. EDM pumping effects are easy to do and sound amazingly clean. I’ve been using Pro-MB for acoustic guitar rhythm parts when I want power from the percussive lower strings but without excessive bass buildup and thump. I compressed a pair of acoustic guitars in a narrow band centered at 180 Hz and also at another band centered at 750Hz. This combination produced a fat acoustic sound with a certain urgency I was missing when those guitars were mixed in with the track’s electrics. I’m still discovering Pro-MB and many ways to use it in my mixing—yes, there is a learning/experimentation curve but well worth it because the rewards are great. FabFilter Pro-MB is now available for $229 and supports both Windows and Mac OS X in VST and VST 3, Audio Units, AAX, RTAS and AudioSuite plug-in formats. I’m running it in Pro Tools 11 as AAX 64-bit and loving it. http://fabfilter.com/shop
10 March 2014
musicconnection.com
FROM SOUND CHECK TO ROYALTY CHECK.
WE PAY ROYALTIES FOR LIVE PERFORMANCES. SESAC ensures you get paid for live performances of your music, no matter who plays it - you, or a band covering your song onstage 2,000 miles away. Get the royalty treatment you deserve with payments for live performances, truly personalized service and monthly payment for radio play. Visit SESAC.com to learn more.
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– BARRY RUDOLPH barry@barryrudolph.com
FENDER VAPORIZER GUITAR AMP The latest in Fender’s Pawn Shop Special series is called the Vaporizer. It evokes the 1950s/‘60s in the U.S., the space race and the atom-age world enthralled with spaceflight and spacecraft. In those days, bright, colorful and flashy industry design was everywhere, from TV and radio cabinets to cars and home appliances. Available in Surf Green, Slate Blue and (what else) Rocket Red, the Vaporizer amp looks like it came out of a time capsule from those nascent times with its retro/modern colors and whimsical cabinet designs. The Fender Vaporizer amps have 12 watts of all-tube output power (2 x 12AX7 preamp tubes, 2 x 6BQ5/EL84 power tubes) and two, 10-inch, 16-ohm Special Design Vaporizer speakers. Additional features include a spring reverb circuit independent of amp volume control, which creates a full, wet reverb that can approximate the sound of playing in a tunnel of love. But step on the wedge footswitch and launch into “vaporizer mode” which bypasses the volume and tone controls for full turbo overload. They sell for $549 MSRP. http://fender.com/series/pawn-shop-special/vaporizer-surf-green-120v
SONNOX/FRAUNHOFER CODEC TOOLBOX The new Codec Toolbox is the result of a collaborative effort between innovative plugin developer Sonnox and MP3 creator Fraunhofer IIS. Codec Toolbox is for real-time codec auditioning, metadata editing and batch encoding right in your DAW platform. Toolbox is an offshoot of the Sonnox/Fraunhofer Pro-Codec and is comprised of two applications: the Toolbox Plug-In for real-time mix auditioning through various included codecs, and the Toolbox Manager for off-line encoding and adding metadata. A “clip safe” function ensures clean encoded files, as the software automatically compensates for any overs during the encode process. The Codec Toolbox is available for a 15-day trial or to purchase for $55 MSRP. http://sonnox.com/codectoolbox
MACKIE VLZ4 SERIES MIXERS It just gets better and better with Mackie’s updated VLZ4 series of analog compact mixers. They now include Mackie’s acclaimed Onyx microphone pre-amps and deliver the ultimate in high-headroom, low-noise analog mixer design. All eight new VLZ4 mixers directly replace the previous VLZ3 generation models ranging from the affordable desktop 402VLZ4 to a wide choice of multichannel, 4-bus mixers perfect for touring live sound work. Especially good for recording and live sound work, the Onyx mic preamplifiers have proven they can hold their own with many external boutique preamps out there. The solid steel wraparound chassis and grime-resistant sealed rotary pots make them more than ready to hit the road. Prices range from $129.99 for the four-channel 402VLZ4 up to $1,699 for the 32-channel 3204VLZ4. http://mackie.com/VLZ4
MILLENNIA MUSIC & MEDIA SYSTEMS HV-37 MICROPHONE PRE-AMP Millennia Music & Media Systems’ HV-37 is a 1U rack cabinet that contains two hardwired HV-35 microphone pre-amp circuit boards—the same boards that go into modules designed to fit the 500 Series “lunchbox” racks. The HV-37’s performance is identical except it’s more cost-effective than buying two HV-35s because the HV-37 includes a built-in switching power supply. The HV-35 module is a direct-couple amplifier design that uses no transformers in the audio path. Input and output transformers used in microphone pre-amps offer reliable, galvanic isolation and protection from the vagaries of the input microphone sources coming into them (faulty grounding, power line noise etc.) and also of the output line the pre-amp drives. But this protection comes at a cost with the transformer’s extra expense, size, bandwidth-limited frequency response, non-linear operation and distortion—particularly at high operating levels coloring the sound. Here at my Tones 4 $ studios, I have several microphone preamps to choose from when recording music but this is my first direct-couple model to evaluate and compare. I recorded vocals, percussion, DI electric guitars and bass and the HV-37 was truer to the source with better definition in the bass and a significantly more open and airy top end. So I am glad to hear and compare the HV-37 in my world of what I’ve gotten used to with BARRY RUDOLPH is a recording engineer/mixer who has worked on over 30 gold and platinum records. He has recorded and/or microphone pre-amps. At about $1,600 MSRP for two channels, it makes a great alternative mixed Lynyrd Skynyrd, Hall & Oates, Pat Benatar, Rod Stewart, the to the transformer and/or tube microphone pre-amps in my recording signal chain when I am Corrs, and more. Barry has his own futuristic music mixing facility looking for super clean, pristine and accurate amplification. and loves teaching audio engineering at Musician’s Institute, Hollywood, CA. He is a lifetime Grammy-voting member of NARAS and http://mil-media.com a contributing editor for Mix Magazine. http://barryrudolph.com
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March 2014
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BOOK S T ORE
Maximize Your Mixing Potential PreSonus® StudioLive™ Mixer Handbook ;OL 6ɉJPHS .\PKL By Bobby Owsinski
0U [OPZ IVVR `V\»SS KPZJV]LY! >H`Z [V [\UL `V\Y ZV\UK Z`Z[LT [V [OL YVVT ;OL PUZ HUK V\[Z VM Z[HNL TVUP[VY TP_LZ /V^ [V JVU[YVS :[\KPV3P]L™ YLTV[LS` 3P]L HUK Z[\KPV YLJVYKPUN [PWZ HUK [YPJRZ /V^ [V TPJ HSTVZ[ HU` PUZ[Y\TLU[ (UK T\JO TVYL
Visit alfred.com/studiolive
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Pyramind Training Series By Pyramind (paperback) $99.99
The Pyramind Training Series set is from one of the most influential music recording schools in the world. This three-book and three-DVD set includes Signal Flow, which explores the fundamentals of sound production; Work Flow, which covers the basics of music theory and songwriting as related to the piano; and Cash Flow, which breaks down the music business. These methods are perfect for musicians looking for quality instruction from a proven source and for teachers who want the most up-to-date method for their students.
Experiencing Nirvana By Bruce Pavitt (hardcover) $34.95
Written by Sub Pop Records’ cofounder, this large, hardcover book features two dozen never-before-seen black and white photographs of Nirvana, Mudhoney and Tad by renowned photographer Steve Double, taken the breakthrough night of Sub Pop’s LameFest UK, held at London’s Astoria Theatre, on Dec. 3, 1989. The book is an inside look into a crucial eight-day period in the touring life of Nirvana. In this brief period, the young band goes from breaking up in Rome to winning over the influential British music press, setting the stage for their imminent popularity. Both the live performance shots and candid snaps are, after all these years, a real kick to behold.
The History of Marshall: The First Fifty Years By Michael Doyle, Nick Bowcott (paperback) $40
Featuring coverage of Marshall Amplification’s 2012 50th anniversary, history of factory locations and detailed specs on products, this is a definite account of one of the foremost manufacturers of the musical amplification equipment in the world. Essential reading for musicians, technicians and collectors alike.
One Way Out: The Inside History of the Allman Brothers Band By Alan Paul (hardcover) $29.99
Written in oral history format with the band’s participation, One Way Out is based on exclusive interviews with over 60 people intimately related to the band—including all of its surviving members—and features never-beforeseen photos and letters and memorabilia. Included is an in-depth look at the acrimonious 2000 parting with founding guitarist Dickey Betts and exclusive behindthe-scenes insights into the recording of the band’s classic albums.
DAFT PUNK: A Trip Inside the Pyramid By Dina Santorelli (hardcover) $24.99
Who are those masked men? The legendary electronic music duo from France won Album of the Year at the 2014 Grammys, but their fame is anything but new—they’ve been a global hit since the late ‘90s. This book reproduces important live shows throughout their career, shares their many musical influences—the Rolling Stones, Elton John, Andy Warhol—charts their rise to international stardom and reveals the story of the men behind the masks.
Share-worthy Views o f t h e C i t y a n d B ay
C i t y- S av v y S ta f f w i l l Turn you on to SF’s Best
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9 0 5 C a l i f o r n i a S t r e e t, S a n F r a n c i s c o , C A 9 4 1 0 8 T : 4 1 5 . 9 8 9 . 3 5 0 0 / s t a n f o r d c o u r t . c o m March 2014
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– JONATHAN WIDRAN
MUSICIANS INSTITUTE http://mi.edu
Forging a One-of-a-Kind Musical Culture For 37 Years: Founded in 1977 and located in the heart of Hollywood, Musicians Institute (MI) is a college of contemporary music built on the idea that musicians should teach—and learn from—other musicians in a creative, supportive environment. Offering certificate and non-certificate programs in addition to Associate of Arts and Bachelor’s Degrees, this unique college offers a complete education in every aspect of the music industry—including instrumental performance (bass, drums, guitar, vocals, keyboard technology), composing for video games, audio engineering, guitar building, music business and training in the latest technology.
MI students posing after a studentorganized charity event in Hollywood.
One Foot in the Real World: Through realworld experience and guidance from working professionals, students Barry Keenan & can earn a variety of Matt Forger on campus seeking an degrees and certificates, assistant engineer. while taking advantage of networking opportunities at its state-of-the-art Los Angeles campus. The school offers 24/7 access to Hollywood facilities, networking with successful students and graduates, practical applications of various musical styles, genres, and concepts and cross-cultural interaction with students from around the world. Each department boasts a number of widely respected instructors who are able to impart to students practical information earned in professional careers. Strategies for Success: Beyond mastery of their chosen instrument or craft, students learn how to develop thriving careers, starting with the conducting of mock interviews and including instruction on creating compelling websites, marketing tools, integrated marketing campaigns, choosing the right agents and attorneys, how to audition successfully, creating a great resume, social media and many other tools to help students thrive in the changing industry landscape. What Makes MI Different: “MI doesn’t offer conceptual degrees,” says Director of Marketing Jessica Sullivan, “but a rigorous course load that includes hands-on real-world experience to prepare our students for life in the industry. Most major colleges and universities think their job is done when they give you your degree. Our job at MI is not done until you achieve your dream.” Contact Becky J. Sasso, Marketing Manager, sassob@mi.edu 16 March 2014
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Grow Music Project Releases Session Diaries
Supa Dups Ups Studio With Prism Sound Titan Grammy Award-winning producer/DJ, Supa Dups, has just added a Prism Sound Titan USB multitrack audio interface to his equipment roster, complimenting the Prism Sound Lyra 2 audio interface that is already in place. Dups is a member of the influential Black Chiney Sound System and has worked with numerous artists including Eminem, Mary J. Blige, John Legend and Bruno Mars.
Grow Music Project (GMP)—a new launch pad for emerging, independent artists—has premiered its first artist, track and associated GMP * The Session Diaries episode. The web series chronicles the recording sessions and the musical journey each artist takes as they craft a breakout song with GMP. Every month, a new Session Diaries episode will air in conjunction with the worldwide release of the song that the episode features. Pictured is Star and the Sea tracking “Captain and the Map.” Get more details at http://growmusicproject.com.
Producers & Engineers Wing Honor Young The P&E wing recently honored folk legend Neil Young at The Village in Los Angeles. The room was packed with producers, engineers and industry folk as captioned here: Only minutes before the start of the 56th Annual GRAMMY Awards, several members of the 2014 audio team gathered for a photo. Pictured (l-r): top row: Mikael Stewart, FOH Production Mixer; Andres Arango, Head Stage Monitor Tech/ATK Audiotek Project Manager; Jeff Peterson, System Designer, ATK Audiotek. Second row from top: Doug Mountain, Academy Consulting Engineer; Maureen Droney, P&E Wing Senior Executive Director. Third row from top: Leslie Ann Jones, GRAMMY Award Supervisor of FOH Audio; Glenn Lorbecki, GRAMMY Award Telecast Supervisor of Broadcast Audio. Second row from bottom: BJ Ramone, son of the late legendary producer Phil Ramone; Hank Neuberger, GRAMMY Award Telecast Supervisor of Broadcast Audio. Bottom row: Eric Schilling, Co-Broadcast Music Mixer; John Harris, Co-Broadcast Music Mixer; Ron Reaves, FOH Music Mixer. PHOTOGRAPH COURTESY OF THE RECORDING ACADEMY®/WIREIMAGE.
More Studio News creativeLIVE, an online classroom, has announced its next Music & Audio course, “Fundamentals of Mixing,” featuring veteran producer/ engineer/mixer Jesse Cannon (the Cure, Animal Collective, Senses Fail). The three-day workshop, currently being rebroadcast, is free to
watch and covers all the essentials of mixing rock and electronic music. See http://creativelive.com/courses/ fundamentals-mixing-rock-and-edmjesse-cannon. Between the Buried and Me (BTBAM) will be filming a studio DVD
in March. The concept behind this project is in contrast with the band’s live stage productions—this will feature the band in a small studio, an intimate setting in which they will perform The Future Sequence in its entirety. A small group of musicians will join the band (percussionists,
Producer Playback “[As a mastering engineer the ideal format is] 24-bit, anywhere from 44.1 to 96 [kHz]. But to be honest, bit formats are useless. If you record something at 96 kHz that’s a crappy mix, sample rates aren’t going to make it sound better.” – Howie Weinberg, mastering
engineer (U2, Public Enemy, Coheed & Cambria). Interviewed in MC Oct. 2013
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saxophone, flute, string quartet). BTBAM will record at the Fidelitorium outside Winston-Salem, NC after the conclusion of their upcoming North American tour. Longtime BTBAM producer Jamie King will mix and master the audio while the DVD is to be directed by Justin Reich.
– –ANDY ANDYMESECHER MESECHERandym@musicconnection.com andym@musicconnection.com
Yusef, Tracks Parks Write WithHollywood Chicago Students Mayer In North
ASCAP and America SCORES teamed Grammy-winning Before heading out on his “Born and with Raised� Tour (see pagemusician 34), JohnMalik Yusef producer Grant Parks toupparticipate the ASCAP Songwriter Mayerand spent some time finishing his newestinrelease, Paradise Valley with Residency @ America mentorship program that provides a platform producer Don Was andSCORES, engineeraManny Marroquin in Larrabee Studios, Studio for songwriters to engage and inspire elementary and middle school students 2. The trio reunited on this album following the success of their collaboration in YusefLarrabee and Parks co-wrote a song with onunder-resourced a previous effort.neighborhoods. Pictured (l-r): Was; Studio manager, Amy Burr; America SCORES studentsManny at Hearst Elementary School in Chicago. Mayer; and Mix Engineer Marroquin.
Avalanche Drummer Tracks Third Release N.Y.C.’s The Avalanche is releasing its thirdStudios record titled WolverColdI Am Stares Throughout EastWest ines via I Surrender on March 18.Cold TheStares, band’shave drummer, “The Ratt� Evansville, IN-based rock duo, the signed Brett a production deal Romnes (pictured), produced the album The Barber Shop Dragons, Studios in Lake with legendary engineer and producer MarkatNeedham (Imagine Pink, Hopatcong, NJ. ItBand was members, mixed by Will Toand seeBrian the Ratt’s John Paul White). ChrisYip. Tapp Mullinsdiscography, are recordingvisit in http://brettromnes.com. more on I Am the Avalanche, check http:// with Needham at legendaryFor Eastwest Studios in Hollywood, CA. Uponout completion, iamtheavalanchenyc.com. Needham will shop the project to labels. Pictured (l-r): M.A.N. Productions’ Will Brierre, Tapp, Mullins and Needham. Visit http://thecoldstares.com.
Producer Native Wayne Jobson alongside Pauline and Mark Needham. White Horse Management’s Lindsey Chase embracing Chad Smith of the Red Hot Chili Peppers.
Hoffman Pays Visit to SNL Band
Music Connection Ad Proof Live Television Videotape Supplemental Markets Fund Manager Hoffman Nettwerk’s Kelly Shari Musgrave EastWest Studio Manager Candace Stewart Ad Rep: HR (Pictured Center) “pays� a visit to the SNL Band while rehearsals at S.I.R. within producer Chris Lord-Alge. alongside Lisa and Alan Parsons. Code: 4th-horiz #2-2013 New Yorkhunter City. Hoffman’s division is responsible for distributing supplemental markets payments to musicians for live TV performances, DVDs and re-runs.
SSL Featured In Fantasy Vintage King Displays Avid S6 In Detroit
Berkeley, CA’s Fantasy Studios, a recording studio with over 40 successful The exclusive Vintagegold, Kingplatinum Detroit launch event for Avid’s S6 console was a years and countless and multi-platinum records, has installed success. Appointments areconsole now being scheduled for a firstbuilt lookinat1971 the to S6serat a Solid State Logic Duality in Studio A. Originally the Angeles andRecords Nashville locations. See http://bit.ly/1clblgT. vicecompany’s the artists Los on the Fantasy label that included CCR, Bill Evans and Pictured at the Fantasy Avid S6 launch Detroitits (l-r): Vintage Menrath, Sonny Rollins, Studiosinopened doors to theKing’s publicTom in 1982 and has since hosted many Day, Jake Journey and Liland Wayne. Jacob Schneider andartists Ryan including McGuire; Green and Avid’s Schaefer Jeff Komar.
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PRODUCER CROSSTALK
THE CATARACS By Rob Putnam
Snoop Dogg, Selena Gomez, Enrique Iglesias
W
riter and producer Niles Hollowell-Dhar began recording hip-hop for himself and friends under primitive conditions on his low-end PC during middle school in Berkeley, CA. It wasn’t long until he began to compete with local artist David Singer-Vine. The pair quickly recognized the advantages of working together and decided to synergize. Thus, the Cataracs was born. The team has since gone on to write and produce for a number of artists including Snoop Dogg, Selena Gomez and Enrique Iglesias. The two are the writing/production force behind hits including “Like A G6� and “Booty Bounce.� The team dissolved in 2012 but Hollowell-Dhar continues to work under the name. The three most important things How he begins a new project is he’s learned as a largely dependant upon who he’s producer/engineer are: working with. “If I’m with friends, there’s no pressure,� the producer explains. s 9OU HAVE TO GET EXCITED ABOUT “We make some of our best stuff when SOMETHING WITHIN THE lRST it comes naturally. If it’s an opportuMINUTES )F YOU RE NOT THEN MOVE nity to place a song with a big artist, ON 4HERE SHOULD BE SOMETHING I’ll usually have something that I’ve BEAUTIFUL EARLY ON tailored specifically for him or her. But s !S SOON AS YOU CAN GO FROM THE it’s not the first song I show them. It’s MENTALITY OF MAKING BEATS TO THE more like the fourth. That strategy has MENTALITY OF MAKING SONGS 3ONGS worked well for me. As a producer, it’s WITHOUT VOCALS LACK A HUMAN ELEmy job to be the visionary for the next MENT AND THEY CAN ONLY GET SO BIG single, to know what’s best.� One of the things that he’s recogs +EEP PEOPLE AROUND 4HEY CAN nized is the necessity of having other TELL YOU IF SOMETHING IS GOOD !S A people in the room while he’s working. PRODUCER YOU CAN LOSE PERSPECIt gives him the opportunity to bounce TIVE SOMETIMES ideas around and it helps to identify when he’s created something unique. “You listen to other songs and try to emulate them,� he says. “In the process, you typically don’t succeed. You sort of fumble into your own sound. It’s important to recognize when you do that. Sometimes it’s difficult because you’re the only person in the room and you’re beating yourself over the head thinking, ‘Why doesn’t it sound like this song?’ It’s important to have other people who can stop me and say ‘That sounds really dope. Go with it.’� Hollowell-Dhar is first and foremost a fan of electronic dance music (EDM). That, then, gives him something of an outsider’s perspective on pop music. “In pop, it’s all too easy to see the tricks that happen again and again,� he observes. “Dance music is something I’m passionate about. As it develops more and enters the mainstream, it’s gotta be the same as any good song. It’s not enough to play the same beat for five minutes. Some producers and DJs have been impressive in their delivery of EDM cuts that are songs in the sense that they have a melody that sticks with you. That’s an inalienable component of successful music: a good tune you can hum along with. The Beatport top 10 can get a little monotonous.� To aspiring producers, he underlines the importance of finding a unique voice and that it is imperative to make mistakes. “You have to keep making stuff that sounds like shit for a while and know that that’s okay,� he explains. “Your mess-ups can sort of define your sound. Even ‘G6’ was really an accident. I had this [Roland TR-] 808 and I put distortion on it. There was a melody on top of it. I accidentally dragged the MIDI from this bell over to the 808 bass. But it was awesome. Thankfully, people I trusted in the room told me that it sounded good.� Hollowell-Dhar maintains a home studio where he does much of his writing and production. He completed work recently on albums with Selena Gomez and Enrique Iglesias as well as songs with Sean Paul. He’s also in discussions with Moby. Future collaboration with original Cataracs member David Singer-Vine looms likely on the horizon. Contact Ben Willis / Indie-Pop Music, ben@indie-pop.com
20 March 2014
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March 2014
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– ANDY KAUFMANN
Tom Ingram
don’t start too big. Start at a size that, if no one shows up, you can afford to pay everyone. That–will do more for your repuANDY KAUFMANN tation than anything. If you’ve got bands, no one shows up and you pay them all, when you do your next event those bands are going to be more than happy to work for you again, probably at a special price. I hear horror stories of people who put on a big event, lose a fortune and then say, right, I’m going to do another one and the profits from the next one will be used to pay all the people I owe for the first one. And they do the second one, which loses money. Now they’ve got two lots of people they owe money. This is what happens when people run before they can walk.
Owner / Founder Viva Las Vegas
Years with Company: 17 Address: P.O. Box 5940, Los Alamitos, CA 90721 Phone: 562-496-4287 Web: http://vivalasvegas.net Email: tom@vivalasvegas.net Clients: Los Straightjackets, the Sun Rockabilly Show, Sonny Burgess, the Chop Tops, the Trashmen, Carl Mann, Hayden Thompson & Narvel Felts, Imelda May, Lloyd Price. BACKGROUND: A fan of rockabilly since he was a teenager, Tom Ingram began as a DJ promoting shows in his native England. Eventually, this blossomed into Viva Las Vegas, a sprawling festival devoted to all things ‘50s, including a car show, burlesque and more. Up to 20,000 fans will attend the 17th annual event, which includes 65 bands and runs from April 17 to 20.
“The band comes to the event having already been paid. If a band goes on not having to worry about getting paid, they perform better.”
DJ Roots: London had such a big rockabilly scene. I became the main rockabilly DJ in London for years. So then I felt, you can’t DJ forever. That’s what gave me the push to get into promoting. I only DJ when someone really wants me to. I don’t DJ for money anymore; it’s just something I want to do. I was very fortunate to be part of that London rockabilly scene in the ’80s and early ‘90s.
Know Your Genre: [Rockabilly is] the sort of music I’ve always been involved in. If you’re part of a scene and understand it, you know what to put on. If you’re just someone who thinks, oh yeah, I hear rockabilly’s big, I’ll put on a rockabilly event, you’re not going to know who to book. It’s the same way with any other sort of music. If I was to try and do a reggae event, I wouldn’t have a clue who to book. Giving People What They Want: People who are into the ‘50s music scene are into ‘50s cars, ‘50s clothing and ‘50s culture, so it’s all part of what people want as a rockabilly weekend. That’s why the car show is strictly pre‘63 and period correct. We used to do a small car show at my events in England, but it started with just having a place for people with old cars to park together. So the car show sort of grew on its own. I underestimated how big that would become. The entertainment in Vegas, if you’re under 60, wasn’t that exciting, which is part of the reason I think Viva Las Vegas became so successful. There wasn’t anything in the way of alternative music. Viva Las Vegas was really the first big event that catered to a crowd who wanted something that wasn’t Top 40. Choosing Acts: Being part of the scene, I know most of the bands. I get between 500 and 700 submissions each year from bands wanting to play. Fifty percent of them are totally wrong for the event and the other 50% I go through and it’s just what I think sounds good, will suit the event and give a good balance of ‘50s music. I go through every submission. The easiest way [for bands to submit material is with] a link to their ReverbNation 22 March 2014
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Spreading Out: One of the problems with doing an event like this is you’ve got lots of different things scattered all over the place and controlling it is difficult. It takes a lot of staff and overseeing. If I was to grow, I’d be adding more venues and the only one they’ve got left is the arena. I’ve got a new event starting in October which will be a small rockabilly event of about 1,500 people at Gold Coast Hotel. So, rather than adding more to Viva Las Vegas, I’m doing a second event. I think that’s the way to move forward.
page or a link to their website. That’s far more convenient than having to unpack a CD. I much prefer that to having attachments or getting stuff in the mail. Being Specific: I have a contract that tries to cover everything. What I don’t like is grey areas. If you get everything out in the open in the beginning, then people know exactly what they’re getting—what I’m getting from the band and what the band’s getting from me. It avoids a lot of problems on the day. For example, we have drums, basses and even guitars, so if a band is flying and they don’t want to bring any instruments, they don’t have to. But we let them know beforehand exactly what we have. Getting Paid First: Every band gets paid. No one plays for free and no one has to pay to play. I’m strict on that. I think everyone should be paid something. Three weeks before the event, everyone gets a check for their support, which they can deposit right away. That means the band comes to the event having already been paid. If a band goes on not having to worry about getting paid, they perform better. Also, with so many bands, obviously I’m not carrying everyone’s money. The truth is we’re too busy to deal with paying so many bands at the event. This makes life much easier. I actually reimburse bands the same day they buy their flight. You can’t promise to pay someone not knowing how you’re going to pay them. I’ve heard stories of promoters who rely on the money they take in on the day. To me, that’s not being a promoter. The people who are working for you don’t know whether you’ve taken in enough money or not. Either pay them in advance or get the money out of the bank before the event and have it with you. Start Small: The most important thing promoters have is their reputation. So if you’re going to organize shows,
The Viva Difference: Viva Las Vegas is the biggest rockabilly festival in the world and it always looks good to be on the biggest event. But another thing is a lot of rockabilly bands just play their local bar where half the audience doesn’t care whether they’re there or not. The chance to play to a large audience of enthusiastic people is a big deal for them. And another thing is that a lot of bands, as soon as their names appear on my flyer, get loads more bookings. The Tax Man: The state of Nevada makes it very difficult with the amount of permits, licenses and taxes. It’s like everyone’s got their hand out. I have to have a promoter’s business license. And I have to have an admission charge license, which just seems silly. We have about 120 vendors and every single vendor has to charge a one-time use sales tax that we’re responsible for collecting. So we’re actually tax collectors. That sort of thing makes it very hard. Keeping the Past Alive: Ruth Brown had been ill for a long time. I persuaded her to play and only do her ‘50s recordings. She kept saying to me, are you sure people are going to like it? Are you sure they want these songs? I said, yes, people are going to love it. Just as she’s walking on the stage, she says, if people throw tomatoes at me I’m going to blame you. I said, don’t worry, they won’t. And she went down a storm. She was in tears as was the audience. It went well. Master Your Domain: Someone who’s thinking about promoting should treat it like a business. Present yourself in a positive way. Any business who uses Gmail, Yahoo. etc. looks smalltime. If you’re serious, you have to have your own URL and email address connected to that. It presents a far better image. It’s not just what you do at the event. It’s the whole thing.
– BERNARD BAUR
MUSIC CONNECTION’s Business Affairs delivers up-to-date information about the signings of new artists, significant developments at major and indie labels, as well as news of managers and attorneys who are active in the A&R aspect of the music business. So that MC can provide the most current information possible, please send any industry news, buzz or rumors that need to be verified to BBatMC@aol.com.
OPPS
Musicmetric has released a few new tools for discovering future hit makers, locating fans and automatically analyzing performances. One product, Musicmetric Explore, allows users an overview of their market and filters it through genre, location and performance across specific social media channels. Another, Musicmetric Insights, automatically analyzes performances across billions of fan interactions to produce at-a-glance graphs and summaries. Check it out at http://musicmetric.com. U.K. record label Horus Music is looking to initiate relationships with emerging artists for roster consideration as well as distribution deals. With a catalog of over 5,000 tracks, Horus Music is becoming one of the largest new independent labels around. Artists from their roster include Burning Brains, Clive Rose, Dan Whitehouse and the Blind Hearts, among others. You can learn more
and submit material at http:// horusmusic.co.uk. Songsalive! Is featuring talented songwriters from around the globe in a cozy, intimate and acoustic environment where media and music industry representatives often drop by to check out the artists and songs. The showcase is held on the first Sunday of every month at the Cork Lounge in Sherman Oaks, CA. To be considered, log onto http:// songsalive.org/showcases.htm or http://songsalive.org. Island Records and Indiegogo have announced an innovative partnership, launching Fan Republic as the first collaboration of its kind between a music label and a crowdfunding platform. The partnership will provide a new place to discover and support emerging artists worldwide. The arrangement offers rewards for artists who reach or exceed their funding targets. These include deals and discounts negotiated by Island Records on everything from studio rates to video production and van rental. Emerging artists using Fan Republic will also have the chance to connect directly with the Island Records A&R team, who will be evaluating all projects that reach their funding targets. For more information contact Shane. ONeill@umusic.com, or go to http:// indiegogo.com. Hello Music has unveiled its new Hello Music Marketplace, the simplest way for musicians to sell their gear directly to other musicians online. The new Marketplace was designed from
KAPRI’S SIDE EFFECT Kapri, a Polish-born female artist, formed a pop-punk group called Side Effect in Hollywood, CA. Their newest EP Another Last Goodbye, co-produced by Marko72 (Sugarcult and Jokull Jonsson of Evening Guests), dropped in February. A release party was held at the infamous Rainbow Bar & Grill, followed by a tri-state tour. With its sassy attitude and raw rock flavor, the record was inspired by a real-life story. The last track, “Ships In A Bottle,” is a cover of a Butch Walker tune. Visit http://artistecard.com/ wearesideeffect or go to http://facebook.com/wearesideeffect to find out more about this emerging act. member feedback to be easy and transparent for musician buyers and sellers featuring: Free listings for Hello Music members; seven percent commission when sold (if the item is returned for any reason, Hello Music will reverse the commission); flexible selling options for both fixed price (buy it now) or make an offer sales; PayPal gateway for maximum buyer and seller protection. Hello Music’s daily e-newsletters (that reach more than 500,000 active musician members) will promote both new Hello Music and used Marketplace products, giving Marketplace users even more visibility for their gear sales. Visit http://hellomusic.com. For even more timely opportunities, sign up for MC’s Weekly Bulletin newsletter. http://musicconnection.com/newsletter
ALAN SHERWOOD
,!"%,3s2%,%!3%3 SIGNINGS
SOBAK INKS DEAL & DROPS DEBUT Sobak is on a mission… The newly formed classic rock band wants to bring rock back into dominance. Founded by singer/songwriter Anthony Sobak, the group consists of veteran, pro players who have shared the stage with Jimi Hendrix and Led Zeppelin. Recently signed to Tate Music Group, the band is currently mixing and mastering its label debut, a 10-song LP tilted, A Little More Time. The album is scheduled to drop in spring 2014. While waiting for the release, Sobak have been entertaining fans at Murrieta Rod Run and benefit concerts. To find out more about this act, go to http:// facebook.com/sobakmusic.
Tempting Fate have released their first single and lyrical video “Get Up” for their second album Illusions. The record was mastered by Iwrestledabearonce’s guitarist Steven Bradley, and the band was featured at No. 5 in Music Junkies’ “Bands That Will Rule 2014.” Tempting Fate’s first album Hate Nation created a whole new genre of music called “Dub-Metal,” and their upcoming album pushes the boundaries again. To learn more about this innovative group, go to http://temptingfateband. com or contact Dustin@ DoubleDManagement.com. Queen and Universal Music Group have renewed their
partnership with a new longterm deal. The partnership will herald a range of projects from the band, including a raft of rare and unreleased material and a film. The agreement was announced at the launch of “Queen: The Studio Experience,” a major new Queen exhibition in Montreux, Switzerland. The new Universal deal, which covers the world outside North America, comes three years after Queen first signed with Universal Music. Visit http://queenonline.com. Nettwerk Music Group has announced the signing of electronic artist Andy Caldwell to its new, full-service electronic music label Nettrax. “With infectious grooves and fabulous vocalists, Nettwerk Music Group is honored to help electronic music fans the world over discover Andy’s music,” says Mark Jowett, VP of International A&R/Publishing at Nettwerk. If interested in submitting material for Nettwerk’s new electronic label (Nettrax), you can send a link to your music to: nettraxdemos@gmail.com. This Is Your Life pays tribute to the late Ronnie James Dio with covers of his greatest songs. One of the most beloved figures in rock history, Dio’s gifts as both a singer and songwriter are instantly recognizable, whether he was with Rainbow, Black Sabbath, Heaven & Hell, or leading Dio. Sadly, he lost his battle with stomach cancer in 2010 but his legacy lives on. An all-star group of friends and fans recorded 13 of their favorite tracks for a tribute album that will raise funds for the Ronnie James Dio Stand Up and Shout Cancer March 2014
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– BERNARD BAUR
Fund. Produced by his longtime manager and wife Wendy Dio the album includes contributions by such metal heavyweights as Metallica, Motörhead, Scorpions, Anthrax and Rob Halford, as well as appearances by many of the musicians who performed with Dio over the years. The tribute album will be available from Rhino on April 1; a digital version will also be available. To contribute to the cause, go to http://diocancerfund.org. The Toadies are celebrating the 20th Anniversary of their first full-length album Rubberneck (1994). The album is getting the full remaster and reissue treatment and fans will hear the entire record played front to back on tour this spring. The band is also celebrating with a special-edition beer, called Rubberneck Red, which will be released in Texas only. The album is scheduled to drop April 1, and the tour (starting at SXSW) will extend through the late summer. For additional info and tour dates, visit http://thetoadies.com.
PROPS
The Fender Stratocaster guitar turns 60 in 2014…and it wears it well. You see the instrument everywhere, and hardly a day goes by when you don’t hear its signature sound. It’s the guitar behind the sound of “That’ll Be the Day” (the Crickets, 1957), “Purple Haze” (Jimi Hendrix Experience, 1967), “Smoke on the Water” (Deep Purple, 1972), “Pride and Joy” (Stevie Ray Vaughan, 1983), “Even Flow” (Pearl Jam, 1992), “Dani California” (Red Hot Chili
Peppers, 2006), “Get Lucky” (Daft Punk, 2013) and countless other hits. To check out the latest instruments from Fender, go to http://fender.com. The Music Business Association (Music Biz) will present its prestigious “Independent Spirit Award” to Jonathan Poneman, co-founder of Sub Pop Records (which celebrated its 25th anniversary in 2013). The Award will be presented on May 7, at the opening session of Music Biz 2014, an annual convention which takes place at the Hyatt Regency Century Plaza Hotel in Los Angeles, CA. The Independent Spirit Award recognizes individuals and organizations whose creativity, entrepreneurship and success in their fields have helped enhance the business of independent music for retailers, content providers and the artists themselves. To find out more, visit http://musicbiz.org. Josh Groban’s Find Your Light Foundation recently made a donation of instruments to Little Kids Rock as part of its mission to enrich the lives of young people through arts, education and cultural awareness. Groban wheeled in two carts stacked with brand new acoustic and electric guitars, and keyboards to augment the school’s already rockin’ “Modern Band Program.” Groban then sat down with the (4th to 8th grade) budding musicians and talked music with them for nearly an hour. You can go to http://findyour lightfoundation.org for further information.
CAGE9 RELEASE THEIR THIRD MUSIC VIDEO Cage9 have released their third official music video “A Million Miles Below the Earth,” from the band’s fifth studio album How to Shoot Lasers From Your Eyes. The video was produced by Visual Harassment and directed by Jacob Voelzke, who hosted a release party and black carpet event last month at Loaded in Hollywood. Originally from Panama, Cage9 has toured throughout the U.S. and internationally, supporting Ozzy Osbourne and sharing the stage with acts like Sevendust, Hellyea, In This Moment, Seether, and Buckcherry, among others. Visit http://cage9.com or contact Dustin@ DoubleDManagement.com.
24 March 2014
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DIY Spotlight The GoAround Determined to achieve their dreams on their own terms, Alexander and Anthony Saddic formed the pop/ alt-rock act the GoAround in their hometown of West Chester, PA. In order to build their brand and bond with fans they followed a strict DIY plan. But, they had to weather many changes and a myriad of band members until they figured out that they were best as a duo. Starting from those humble beginnings, the Saddic brothers have gone from practicing in the garage to performing on major stages. When they began playing in public they traded shows with other bands to expand their reach and increase their fan base—which paid off nicely. The brothers had a unique vision for a music video of their song “Her Love is Like Glass.” But, they needed the help of their fans to achieve it because, in the video, they wanted to smash thousands of pieces of glass. So they called upon fans to donate items such as jars and bottles in order to create a dramatic visual metaphor of love being… well, either a beautiful or painful experience. The response was overwhelming. They thanked the fans that donated items by giving them a shout out at the end of the video, as well as a free T-shirt and an invitation to a private screening before its release. Now, they are calling on fans again for their newest project, a video for their single “When I Hit The Bottom.” This duo obviously knows how to make fans feel like they’re part of the project and get them to be emotionally invested. As a result, the GoAround have received numerous accolades and graced the airwaves on the east coast, all without ever abandoning their DIY principles. For more info, go to http://TheGoAround.com.
Have a successful DIY strategy to share? Email bbatmc@aol.com.
THE BIZ
Former Interscope Records executive Garnett March has launched The Chemists, a multi-faceted entertainment company. The Chemists is designed to promote and mold up-and-coming artists. Inspired by Berry Gordy’s Motown Records, it operates under the belief that artist development is key. Artists are even required to complete an intensive boot camp, concentrating on songwriting and recording. The Los Angeles based company is already home to a dynamic roster of artists, songwriters, and producers, including rapper Billy Bang, R&B singer Anthony Lewis and songstress Mila J. March says, “After 20 years in the music industry, boot camp with Jimmy Iovine, and launching the careers of 2Pac, Snoop Dogg, Blackstreet, Master P, Westside Connection, Mary J. Blige, Keyshia Cole, 50 Cent, and Kendrick Lamar, I feel I am well-equipped and ready to venture out on my own.” See http:// thechemists.me.
The Recording Industry Association of America (RIAA) added song streams to its Gold & Platinum (G&P) Program in 2013 which helped fuel a recordbreaking 663 “Digital Single Awards”—a 25 percent increase —according to RIAA’s year-end certifications. In addition to adding streams, the RIAA modernized other program parts to ensure that G&P awards reflect a changing music market. Jay Z and Justin Timberlake tied for the RIAA’s top certified album; Robin Thicke’s “Blurred Lines” earned the singer 2013’s top-certified Digital Single Award; Lorde and Katy Perry tied for the RIAA’s second highest 2013 song honor. The RIAA also awarded two triple-Platinum Awards to Daft Punk’s “Get Lucky” (Columbia) and Fall Out Boy’s “My Songs Know What You Did In The Dark (Light Em Up)” (Island). BERNARD BAUR was voted one of the “Top Music Business Journalists” in the country. Bernard is the connection between the streets and the suites. Credited with over 1,200 features in a variety of publications, he’s a Contributing Editor at Music Connection.
– BERNARD BAUR
“We Had a Hit Single with Jesse McCartney, and it all Began with TAXI” Andy Dodd and Adam Watts – TAXI members www.reddecibelproductions.com www.adamwatts.com
Adam and Andy’s success
through TAXI is a little bit different from all the other stories you’ve probably heard. They got their biggest deal after their membership ran out! Here’s how it happened: “We joined TAXI in 2001 and found that it was a great motivator for us. We were members for two years. We learned a lot, wrote a ton of songs, and got a few film and TV placements -- some through TAXI, and some on our own. We submitted a song we wrote with Jenn Shepard called “You Make Me Feel” to one of TAXI’s Industry Listings. We didn’t hear anything back for a while and eventually our TAXI membership ran out. Thankfully, we began to get so busy with production and writing gigs that we decided to wait and renew our membership at a later date.
production/management company that was looking for material for a young, male Pop artist they were developing. Later that year, Jesse McCartney’s managers called us saying they had just heard “You Make Me Feel” on a CD they got from TAXI and wanted to have him cut the song. Although Jesse decided not to record “You Make Me Feel”, his managers asked us to write more songs for him. We wrote a handful and they ended up putting his vocal on two of the tracks we produced, “Take Your Sweet Time" and "Beautiful Soul”.
management got the song to a label executive at Disney. Soon after, Jesse was signed to Hollywood Records. “Beautiful Soul” became his first single, and we both signed publishing deals with Disney Music Publishing. Jesse McCartney’s album (entitled “Beautiful Soul”) has gone Platinum in the U.S. and Australia.
“Beautiful Soul” went to #3 on Radio and Records CHR Pop Chart, #5 on Billboard’s Top 40 Chart, #19 on Billboard’s Adult Top 40 chart, it’s a Platinum Digital Single Download, it’s on the Gold-selling ‘Cinderella “Beautiful Soul” got played Story’ Motion Picture on Radio Disney, and Jesse’s Soundtrack, the Gold-selling ‘That's So Raven’ TV Soundtrack, and the video was nominated for Best Pop Video at a 2005 MTV Video Music Awards.” All of this came about because Adam and Andy sent a song to TAXI. Call for our free information kit.
Little did we know that TAXI had sent our song to a
The World’s Leading Independent A&R Company
1-800-458-2111 March 2014
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KONGOS Date Signed: January 2014 Label: Epic Records Type of Music: Rock Band Members: Dylan Kongos, Danny Kongos, Jesse Kongos, Johnny Kongos. Management: Marc Pollack - The MGMT Company Booking: Corrie Christopher - Paradigm (U.S.); Sean Goulding TAG (International) Legal: Craig Marshall - Greenspan, Light, et al. Publicity: Darren Baber - Epic Records Web: http://kongos.com A&R: L.A. Reid
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n the first whirlwind month since finalizing their deal with Epic Records, Phoenix based brothers Dylan Kongos, Jesse Kongos, Johnny Kongos and Danny Kongos saw their infectious, accordion and slide guitar driven official debut single “Come With Me Now” hit the Billboard Rock Airplay chart at No. 26 and Alternative Songs chart at No. 32 (where it was No. 1 most added). The track has been used as promos for the NFL, NBA and ESPN, and their debut album, Lunatic, originally issued in 2012, was released by Epic Jan. 27. The past few years, the Kongos brothers—who grew up partially in South Africa—have been strictly DIY. In 2011, they sent their song “I’m Only Joking” to Phoenix DJ, Beef Vegan, who helped cultivate a local fan base by playing it on his non-commercial alternative station. Then they sent tracks to radio stations in South Africa and the same song
“The resulting spike in our iTunes sales put us on the radar of various major labels” blew up on the Top 40 station 5FM. Kongos followed-up by touring there five times in 2011-12, including opening huge shows in Cape Town and Johannesburg for Linkin Park. KONGOS’ headlining gig at the popular Oppikoppi rock festival caught the attention of U.K. booking agent Sean Goulding, who signed the act and soon had them opening in Europe for the bands Dispatch and AWOLNATION. The brothers soon signed with The MGMT Company in L.A., which set up showcases for the band throughout 2013, including one at South By Southwest. At the same time, the Kongos brothers started sending singles out to radio through their management and scored modern rock airplay in Chicago and Denver, and a spot at Riot Fest in Denver. “The resulting spike in our iTunes sales put us on the radar of various major labels and we started fielding offers,” says Jesse, the band’s drummer and vocalist. “Things took shape with Epic because our management played [Epic CEO] L.A. Reid our video for ‘Come With Me Now’ and some other songs and he flipped out and said, ‘I want this band.’ He never saw us live until after we signed! The company is behind us creatively and has the infrastructure and power to make things happen on a higher level for us. They’re really enthusiastic about the music, not just the numbers.” – Jonathan Widran 26 March 2014
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YG
Date Signed: October 2009 Label: Def Jam Type of Music: Hip-Hop/Rap Management: Russell Redeaux - Stampede Management Booking: Mitch Blackman - ICM Legal: Helen Yu - Yu Leseberg Publicity: Brianne Pins - Cashmere Agency / Courtni Asbury - Island Def Jam Web: http://YG400.net A&R: Sickamore
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hen a classmate threw a dis toward Keenon Jackson, it became a game of wits from which Jackson, aka “YG,” built a career. His lyrical responses caught on at Paramount High School in Paramount, CA, and later spread to Myspace. While getting requests for parties, he formed Pu$haz Ink, making the music official. “People at school were singing my songs and my homies were coming out to support,” says YG. “I decided we needed a name and we needed to be known by that.” Constant, effective self-promotion ensued. YG recalls burning mixtapes and hitting the streets to pass out CDs. Shows were now a vital link to new fans and the combination proved instrumental in connecting YG to Def Jam. Label reps would later observe an entire club, in Hollywood, singing along as YG performed.
“That’s how I got my buzz. I was really out there on my independent grind.” “That’s how I got my buzz,” says YG. “I was really out there on my independent grind.” When YG found himself in New York, with Def Jam, it was surreal. “I grew up hearing about Def Jam,” says YG. “I was going into the music industry and knew nothing about it but I knew about Def Jam Records.” YG identifies avidly as a West Coast artist but examines the uniqueness in being on an East Coast label: “Everybody there understands and if I can get an East Coast label to know what I am doing, then maybe I can get the whole world to understand.” My Krazy Life, appearing on March 18, is a reflection of YG and he is deeply proud of it. “I know a lot of people will be able to relate because we are all living a crazy life,” he says. “I finally have this debut album coming out and I already have a platinum single from it.” YG invests in music and touring, but also film and his clothing line. For the California native, it’s a total package, rather than one element. “I want people to respect me as an artist and not a one hit wonder,” he says. “I put my heart in all I do.” – Carl Anthony
EAGULLS COLE SWINDELL
Date Signed: August 2013 Label: Warner Bros. Type of Music: Singer/Songwriter, Country Management: Kerri Edwards Booking: Kevin Meads, KRM@WMEEntertainment.com Publicity: Tree Paine, Tree.Paine@wmg.com Web: http://ColeSwindell.com A&R: NA
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ountry singer/songwriter Cole Swindell is living the ultimate Nashville success story. The Georgia native came to Nashville peddling songs and landed a publishing deal for three years. He got on at Sony ATV, and wrote for himself while penning for the likes of Thomas Rhett, Florida Georgia Line and Chris Young as well as cuts
“If you’re in Nashville, you don’t have to write songs, but that’s a good way to get in.” for touring buddy Luke Bryan’s Spring Break EPs. And then a year ago, Swindell wrote “Chillin’ It.” The initial single off his upcoming eponymous debut, “Chillin’ It” became the first single in all genres to receive Gold certification in 2014. The song sold over 600,000 copies, rendering it the highest selling debut single last year from a solo male country artist. The track was the catalyst for label options. “We thought we had something big that had to go now,” Swindell says. “Warner just worked out; they had a slot for me.” Swindell continues, “If you’re trying to get a deal, you have to play and get in front of people. If you’re in Nashville, you don’t have to write songs, but that’s a good way to get in. I wasn’t getting pitched the best songs, but I had a chance to write for three years. Trying to network. Getting to know people. That’s how Nashville works.” Chances of making it are so slim, Swindell admits. "That’s what keeps me going. So many bands want to be where I am. I’m in Ohio right now on the first big tour of 2014 with Luke Bryan. My album came out February 18th. Last year was definitely the best year of my life; I don’t know how it’s going to get any better.” – Jessica Pace
Date Signed: 2013 Label: Partisan Records Type of Music: Post-Punk Band Members: George Mitchell, vocals; Henry Ruddell, drums; Mark “Goldy” Goldsworthy, guitar; Liam Matthews, guitar; Tom Kelly, bass. Management: Daniel McEvoy, daniel_mcevoy@me.com Booking: Kevin French - Paradigm, kfrench@paradigmagency.com Legal: NA Publicity: Shira Knishkowy - Partisan Records, shira@partisanrecords.com Web: http://eagulls.co.uk A&R: Tim Putnam, Partisan Records, tim@partisanrecords.com
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ormed in 2009, Leeds-based Eagulls had no plans to shop their layered, post-punk music to the labels when they went to the SXSW festival in 2013. “Originally, we didn’t even want to go, but we thought it would be a great opportunity to play some shows and see the U.S. We had never been to America before,” according to frontman George Mitchell. The band had received a PRS arts grant from the British government, providing them with funds to promote their music via touring and radio airplay. With a handful of singles and an EP already self-released, the band were gaining a following in the U.K. and had recorded a full LP prior to travelling to SXSW. Their performances at the fest attracted the attention of Partisan Records. “We met Tim (Putnam, co-founder of the Brooklyn-based label), and he liked us," says Mitchell. “We kept in touch. Some other labels were interested in us, but they just weren’t the right people. With Partisan, it
“It all seemed real—what they were offering. They weren’t just some music business idiots.” all seemed real—what they were offering. They weren’t just some music business idiots.” The band signed a one-album deal to release Eagulls, the LP the band had already recorded, on March 3. “It was a deal with no gimmicks. We get to do what we want with the music.” Partisan is providing tour support and publicity for the band to promote Eagulls. “It was not a conscious choice to go with a U.S. label,” says Mitchell. “We did think it might be a bit awkward that they were in New York (with a satellite office in London), but communication is not a problem. Working with an American label makes it more interesting and it definitely provides more opportunity.” One of those opportunities was an appearance on The Late Show with David Letterman in January. The band has been on an extensive U.K./European tour since midFebruary and will return to Austin for SXSW, resume European dates and then plan to tour “far and wide” later this year. As for a follow-up release, Mitchell says, “Right now we’re just focused on touring.” – Brett Bush March 2014
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Unsigned Only: Judges Announced
Pete Seeger: American Icon With the passing of the great Pete Seeger at age 94, American music lost a towering patriarch. “This Land is Your Land,” “Where Have All the Flowers Gone?” and “Turn, Turn, Turn” are cherished Seeger-penned standards in the long, great tradition of folk music.
Music Publishing: The Complete Guide Author, attorney, and longtime advocate for creators, Steve Winogradsky delivers the definitive manual on music copyright with his new book. Simple terms and complex issues: read Winogradsky before you sign anything.
All That Jazz for ASCAP A distinguished panel of judges awarded ASCAP’s 2014 Herb Alpert Young Jazz Composer Awards. Pictured (l-r): Cia Toscanini, ASCAP; Rufus Reid, 2014 ASCAP Foundation Herb Alpert Young Jazz Composer Award Judge; Colleen McDonough, ASCAP Foundation Director; and Ken Hatfield and Sachal Vasandan, 2014 ASCAP Foundation Herb Alpert Young Jazz Composer Award Judges. 28 March 2014
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Unsigned Only Music Competition has announced its judging panel and mentors for the 2014 competition, which is now accepting entries. Judges consist of iconic recording artists and journalists, each bringing unique expertise in a wide variety of contemporary music genres. Mentors include the top echelon of record company executives, ranging from label presidents to A&R reps. Designed for solo artists, bands and singers who are not signed to a major label, Unsigned Only’s goal is to find an outstanding, talented performing artist: a band, singer or solo artist. The Grand Prize Winner will be awarded $10,000 in cash (plus additional prizes) and oneon-one mentoring by an elite group of record company executives. Winners will be announced in August 2014. Judges include: Neon Trees; John Oates (Hall & Oates); Of Monsters and Men; 3 Doors Down; Dustin Lynch; Black Francis (the Pixies); Rosanne Cash; Delbert McClinton; David Crowder; Craig Morgan; Robert Smith (the Cure); Darryl McDaniels (Run DMC); Aaron Shust; G. Love; Jason Gray; Rapsody; Alt-J; the Mountain Goats; Anthony DeCurtis (Contributing Editor, Rolling Stone); Josh Jackson (Co-Founder and Editor-In-Chief, Paste Magazine); Chris Richards (Pop Music Critic, The Washington Post); and more to be announced. Mentors include: Monte Lipman (Chairman and CEO, Republic Records); Jeff Castelaz (President, Elektra Records); Seymour Stein (Chairman, SIRE Records and VP of Warner Bros Records); Pete
Ganbarg (Executive VP/Head of A&R, Atlantic Records); Mike Elizondo (Sr. VP of A&R, Warner Bros. Records); Josh Bailey (Sr. VP of A&R, Word Label Group); Kim Stephens (President, Forward Entertainment and A&R/Capitol Music Group); Lenny Santiago (VP of A&R, Roc Nation); and more to be announced. For entry and general information, please go to http:// unsignedonly.com.
Roll Call in the Latin Songwriters Hall
Gloria Estefan, Ruben Blades and Ricardo Arjona are among the 24 singer/songwriters and composers nominated to the 2013 Latin Songwriters Hall of Fame and its La Musa Awards. Nominees were announced at a press conference in Miami with LSHOF founders Desmond Child and Rudy Perez in attendance. The two songwriters/ producers founded the organization and last year launched its inaugural awards as part of the Billboard Latin Music Conference in April. This year, the LSHOF gala will be hosted in the fall. However, winners of La Musa will be voted upon by members of the LSHOF beginning now and through April 27. Winners will be announced at a press conference April 28, which will be followed by a “Masterclass In The Round” led by songwriters Claudia Brant, Omar Alfanno and Fernando Osorio and hosted by Child and Pérez. See http://latinsonghall.com.
David Renzer to Spirit Music
Spirit Music Group announced the appointment of David Renzer to the
Cox and SESAC Serve It Up for Grammys The SESAC sponsored 10th Annual Pre-Grammy Brunch, hosted by Grammy Award-winning songwriter/producer Bryan-Michael Cox, took place at the Four Seasons Hotel in Los Angeles on the morning of the Grammys. Pictured (l-r): James Leach, SESAC; Bryan-Michael Cox; and Trevor Gale, SESAC.
– DAN KIMPEL dan@dankimpel.com
position of Chairman. Renzer was previously Chairman and CEO of Universal Music Publishing Group (UMPG). In the newly created position, Renzer will serve as an active chairman and play key roles in all areas of the thriving independent publisher. He will work closely with the company’s financial partners, strengthen the company’s global platform and oversee the development of new media initiatives. Mark Fried will continue as President/CEO and Renzer will work closely with Fried in growing the catalog, expanding A&R outreach and developing and implementing the company’s strategic objectives. Renzer will be based out of both Spirit’s New York and Los Angeles offices. Additional information on Spirit Music Group can be found at http://spiritmusicgroup.com.
Notable Heads Downtown
Downtown Music Publishing has signed a worldwide publishing administration agreement with Notable Music Co. Inc. Founded in 1962 by the legendary composer and jazz musician Cy Coleman, Notable controls the rights to such standards as “The Best Is Yet To Come,” “Witchcraft,” “Big Spender,” “Never Can Say Goodbye” and “Sunny,” among hundreds of other titles. The artists who have recorded and performed the Notable Music repertoire include Frank Sinatra, Nat King Cole, Ella Fitzgerald, Louis Armstrong, Bing Crosby, Elvis Presley, Bobby Hebb, James Brown, Tony Bennett, Rosemary Clooney, Smokey Robinson, Marvin Gaye, the Jackson 5,
Michael Bublé, Barbra Streisand, Queen, Robert Plant & Alison Krauss, Fiona Apple, Toots & the Maytals and many more. Notable’s current roster of songwriters and artists includes such diverse names as Rosanne Cash, Sam Phillips, Chico Mann, Jenny O. and Tift Merritt. Contact Hector A. Silva (hsilva@shorefire.com) at Shore Fire Media, 718-522-7171.
Round Hill Launches in Nashville
Round Hill Music, a full-service creative rights management company with a core focus on music publishing, officially announces the opening of its Nashville office at 1004 18th Ave. South. In addition, Round Hill Music reveals that Nashville music industry veteran Mark Brown has joined the team as VP and GM of the Nashville office. Brown joins the company from MPR Entertainment Group’s publishing arm, Root 49 Music, where he spent three years as Chief Creative Officer. Brown joins Director of A&R, Kari Smith, who joined Round Hill Music in spring of 2013. (See more Round Hill promotions on p. 9.) To round out the trifecta of announcements, Round Hill Music has acquired the Big Tractor catalog, along with its expansive roster of hit country songs and artists, including “Doin’ What She Likes,” by Blake Shelton and “All Over The Road,” by Easton Corbin. See http://roundhillmusic.com.
Pollock Pens ASCAP History In A Friend in the Music Business: The ASCAP Story (Hal Leonard Books; $29.99), award-winning music writer Bruce Pollock looks back at ASCAP’s influence on the music industry over the last 100 years and its continued relevance and importance today. The book features a foreword by Quincy Jones and a preface by Lyle Lovett. Check out http:// halleonard.com.
Gillen Joins BMG North America Joe Gillen has been named CFO at BMG North America. Gillen, based in New York, comes from Universal Music Group’s Capitol Music Division (formerly EMI Music North America) where he was appointed Senior VP Finance back in 2007.
DAN KIMPEL, author of six music industry books, is an instructor at Musicians Institute in Hollywood, CA. He lectures at colleges and conferences worldwide.
COMPETITION ACCEPTING SONG ENTRIES NOW American Authors (pictured), along with Tony DeSare, Auburn Williams and Gary Burr, are among a number of new rising acts that are former winners of the USA Songwriting Competition. The NY based Authors, now #35 on the Billboard Hot 100 Charts, won the Top Award: Overall Grand Prize with their song “Believer.” They are recently signed to Island Records. The 19th Annual USA Songwriting Competition is currently accepting entries. Songs may be entered in 15 different categories including pop, rock/alternative, R&B and country. Entries are accepted from now through May 30, 2014. For more information, visit: http://songwriting.net.
BMI Pre-Grammy Fest in WeHo Broadcast Music, Inc. presented “How I Wrote That Song,” its annual preGrammy event at The House of Blues West Hollywood. The panel, sponsored by Morgan Stanley Wealth Management, featured Grammy-nominated scribe Linda Perry, ACM and CMA award-winning wordsmith Dallas Davidson, Grammy-nominated MC Wiz Khalifa, Grammy-nominated producer Alex Da Kid and Grammynominated luminary Charlie Wilson. Pictured (l-r): Wiz Khalifa and Linda Perry. March 2014
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Amy Stroup
Placements for Parenthood, Dallas, Vampire Diaries
By Dan Kimpel
U
nderstandably enthusiastic about the artistic upsurge emanating from her adopted hometown, Amy Stroup says, “There’s something happening that has never happened before, beyond the country music world––it’s a very cool time in Nashville.” This cool time is vibrantly captured in the new ABC-TV documentary For The Love of Music: The Story of Nashville with Stroup featured alongside the Civil Wars, the Black Keys, Kings of Leon and many more artists working far outside of the country mainstream. With her latest solo collection, Tunnel, the singer/songwriter is contributing to this progressive oeuvre. She operates on multiple creative levels: in a duo called Sugar & The Hi-Lows with Trent Dabbs; as a member of the touring singer/ songwriter collective Ten from Tenn and with her own marketing and management company, Milkglass Creative. Television placements have showcased her songs with Parenthood, Dallas, Vampire Diaries, One Tree Hill and Grey’s Anatomy as prominent credits. Stroup grew up following her father’s ministry across America, eventually settling in Abilene, TX. In 2001, she moved to Nashville to attend Lipscomb University, where she recalls how witnessing Patty Griffin opening for the Dixie Chicks made an immense impact. “Patty immediately takes you to a place where you feel or remember something,” she says. “If I could write something half as good as her I would die happy.” Penned in a three-year span, the songs on Tunnel were tracked in two separate sessions with producers Thomas Doeve and Konrad Synder respectively. Among the standout tracks is the pensive “Versailles,” co-written with Doeve on a songwriting retreat in France. “We had this sense of the story of what Versailles used to be; the wealth and prestige. There is this looming sadness––we don’t build buildings as majestic anymore. The story of Versailles reflects this time that I was going through emotionally. I wanted to parallel this––the sadness you feel when something really good can’t be experienced anymore.” An homage to an iconic ‘80s track, “Toy Soldiers,” a hit for Martika (cowritten and produced by Michael Jay), provided the inspiration for “Finally Found Our Way.” Recalls Stroup, “I wrote that with Pilar Diaz, who grew up in Chile. Pilar was playing ‘80s videos, and when we connected on ‘Toy Soldiers’ we challenged ourselves to write a song that evoked that feeling.” A line in the song “Sabotage” expresses, “…gotta find the right way out.” According to Stroup this escape hatch is “the one where you come out alive. The girl who co-wrote that with me (Mary Hooper) was going through something super hard. We wrote that on an upright piano near my breakfast area. It was so emotional.” The song was featured on One Tree Hill before being collected on Tunnel. Many of the new songs have already earned roles in network series including Vampire Diaries, Pretty Little Liars, Switched at Birth and The Vineyard. The Los Angeles-based company Secret Road does an admirable job of placing Stroup’s songs in a variety of media. “I have been working with Lynn Grossman for the past four years and I love her.” While Stroup enjoys the process of writing to scripts and scenes on assignments, she says that the best songs often exist without these directives. “To write a song and to see it used in other places, and in others stories, films and television shows––that’s my favorite thing. It makes me feel like I’ve written something honest that people can connect with. To me it’s about writing a good song and it will find a place.” Contact Monica Hopman, Think Press, monica@thinkpress.net
30 March 2014
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31
DROPS
On March 4, ABKCO Records drops the original soundtrack to filmmaker Wes Anderson’s latest, The Grand Budapest Hotel. Produced by Anderson himself and longtime collaborator Randall Poster, the 32-track release features the work of French composer Alexandre Desplat with performances by the Osipov State Russian Folk Orchestra. The score mixes Desplat’s original compositions
ELTON JOHN
that reflect the sounds and musical styles of Paris and the surrounding region with traditional Russian folk songs. Desplat composed the scores for other Anderson sleeper hits including Moonrise Kingdom and Fantastic Mr. Fox. The soundtrack for The Grand Budapest Hotel precedes the film’s U.S. release on March 7. Contact Elizabeth Lutz at ELutz@ShoreFire. com for more details. A digital release of L.A.-based indie pop group Grouplove’s short form documentary and concert film I’M WITH YOU recently dropped on iTunes and Amazon. Shot by filmmaker Sam Erickson, the documentary provides insight into Grouplove’s history through band interviews and live performance footage that includes six exclusive audio tracks recorded during the band’s sold-out, 11-city SeeSaw
Tour. Recordings include sets from The Bowery Ballroom and McKittrick Hotel in N.Y.C. Following the DVD’s release, Grouplove are prepared to kick off a tour on March 20 in Cincinnati. For more information on Grouplove, reach Ilana Gold at Ilana.Gold@ AtlanticRecords.com. The makers of Eric Clapton–The 1960s Review are releasing the follow-up, Eric Clapton–The 1970s Review, on DVD March 11. Both new and dated interviews are compiled with rare concert footage to tell the iconic guitarist and Cream member’s musical story through the ‘70s, from his work with Derek and the Dominos to his mid‘70s breakout as a solo artist. The film features contributions from Bonnie Bramlett, George Terry, Willie Perkins, Bill Halverson, Bobby Whitlock, the Albert Brothers, Clapton biographer Marc Roberty and more. Visit http://SeeOfSound. com/p.php?s=SIDVD577 to preorder the DVD. There’s only one WACKEN Open Air. Nothing heats up the summer quite like the worldrenowned festival in the north of Germany. The 2012 edition saw heavy hitters like Volbeat, Edguy and Testament tearing up the stages, with 75,000 moshing metalheads in attendance. The atmosphere was unique as always, the party legendary. You can relive the planet’s biggest heavy metal festival in all its glory on DVD and CD, as it hit stores on Feb. 18 in the U.S. and Canada. For more information, please visit http://udr-music.com.
32 March 2014
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Elton John concert film The Million Dollar Piano is releasing worldwide, but for two nights only in the U.S. on March 18 and March 26. The concert is brought to screen through CinemaLive, in association with Rocket Music Entertainment Group, Fathom Events, Yamaha Entertainment Group of America and Universal Music, and features the piano virtuoso performing at The Colosseum at Caesars Palace in Las Vegas. Besides screenings in over 40 countries including the U.K., Ireland, Germany, France, Italy, Spain, Canada and Mexico, The Million Dollar Piano will show in an expected 500 American theaters. John plays with guitarist Davey Johnstone, the late Bob Birch on bass, percussionist John Mahon, drummer Nigel Olsson and keyboardist Kim Bullard, with a special appearance by percussionist Ray Cooper. In addition, a Goodbye Yellow Brick Road reissue will drop March 25 with a boxset that includes a DVD of Bryan Forbes’ 1973 film Elton John and Bernie Taupin Say Goodbye to Norma Jean and Other Things. Contact Jennie Boddy at Jennie@TheFunStar.com for further information. This month, Music Connection magazine is offering a giveaway of the latest film in The Hunger Games trilogy, Catching Fire, which releases on DVD and Blu-ray March 7. Composer James Newton Howard wrote the score, which dropped in late November 2013, under music supervisor Alexandra Patsavas. The soundtrack features Coldplay’s “Atlas,” as well as Christina Aguilera’s “We Remain,” The National’s “Lean,” The Weeknd’s “Devil May Cry,” Imagine Dragons’ “Who We Are,” Lorde’s “Everybody Wants to Rule the World,” The Lumineers’ “Gale Song,” Patti Smith’s “Capitol Letter,” Mikky Ekko’s “Place for Us” and Phantogram’s “Lights.” Reach Miranda Gooding at Miranda_Gooding@BHImpact.com for more information.
OPPS
Weekly Internet radio show TV Nation is looking for filmmakers, actors and other entertainment guests that range from celebrities
– JESSICA PACE j.marie.pace@gmail.com and personalities to behind-the-scenes industry workers. Totally TV Nation is the breakout show of Totally Driven Entertainment Radio Network and can be accessed at http:// BlogTalkRadio.com/TotallyDriven. Contact Nick Wilkinson at TotallyTVNation@Gmail.com about booking interviews.
PROPS
! Props go to Sir Paul McCartney for recently receiving two Grammy Awards for his November 2012 DVD and Blu-ray release Live Kisses on Eagle Rock Entertainment. McCartney received “Best Surround Sound Album” and “Best Music Film” for the 13-song release, directed by Jonas Akerlund. The film captures intimate footage of McCartney performing Kisses On The Bottom live at Capitol Studios in L.A.––without instruments––and provides insight into the artist’s inspiration and how he came to create the album with contributions from Eric Clapton and Stevie Wonder. Contact Carol Kaye at Carol@KayosProductions.com for details. Alive Inside premiered at Sundance Film Festival this year and took home the 2014 Audience Award for U.S. Documentary. Created by filmmaker Michael RossatoBennett, the film documents the memoryrecovering effects music can have on victims of dementia, a breakthrough spearheaded by Dan Cohen who is founding executive director of nonprofit Music & Memory. The film features conversations with neurologist Oliver Sacks and musician Bobby McFerrin and illustrates how music can stimulate dementia-affected parts of the brain and help contend memory loss. Reach Jon Bleicher at JBleicher@ShoreFire.com for details.
PAUL . McCARTNEY All creative types including authors, musicians, filmmakers, artists and poets can be featured on Get Behind Me, Now Stay There, an art and entertainment news broadcast and Internet radio show and recorded podcast that airs Friday nights on KSKQ 89.5FM or on PRX public radio. The show attracts 80,000 downloaders each week and can be found at https://itunes.apple. com/us/podcast/get-behind-me-now-stay-there/ id456733952?mt=2. Contact Edward Stanton at Edward@JustImagineItInk.com for booking. Media outlet Film On is looking for musicians and bands for its variety talk show broadcasting online and throughout the U.K. on Sky Channel 292. Interested artists can send material via outlets such as YouTube, SoundCloud or Facebook to BandsAtFilmOn@Gmail.com along with an email address and phone number. See Film On at http:// FilmOn.com and http://FilmOn.TV. The 2014 Twin Cities Unified Theatre Auditions (TCUTA) is holding singing auditions March 8 and 9 at Concordia University in St. Paul, MN. A complete set of guidelines for auditions is outlined at http://TCUTA.Climb. org. Questions should be directed to TCUTA Coordinator Dana Lee Thompson at Dana@ Climb.org or 651-453-9275 ext. 41. MTV’s True Life is doing a casting call for “I Want My Ex Back,” which might speak to some musicians who find their art comes between them and relationships. Email gabrielle.lui@punchedinthehead.com or truelife@punchedinthehead.com with “True Life” in the subject line. Include your name, location, phone number, a picture and why you should be on True Life: I Want My Ex Back. Or call 718-422-0704 ext. 328.
DAN COHEN Composer Steven Price has received his first Best Original Film Music accolade from the EE British Academy of Film Awards (BAFTA) for his work on director Alfonso Cuarón’s Gravity. Soon after receiving his BAFTA win yesterday, director Edgar Wright tweeted that Price will be composing the score to the upcoming feature adaptation of the Marvel comic book Ant-Man starring Paul Rudd and Michael Douglas. The film marks Price’s third collaboration with Wright after working with the filmmaker on The World’s End and Attack the Block (the latter which Wright executive produced). Price also wrote music for Cuaróns new NBC series Believe which premieres on March 10 and stars Kyle MacLachlan and Delroy Lindo. Contact Ray Costa at Costa Communications, rcosta@costacomm.com. JESSICA PACE lives in the Nashville area and writes about music, local government and education. Contact her at j.marie.pace@gmail.com.
Out Take
Mark Orton
Musician/Composer Email: Seth Kaplan, Seth@ EvolutionMusicPartners.com Web: http://MarkOrtonMusic.com Most Recent: Nebraska Among composer Mark Orton’s most recent works is the film score for the Oscar-nominated Nebraska. Orton found his way into film composing through his work with Bay-area folk bluegrass collective Tin Hat Trio. “The music with Tin Hat Trio was licensed in movies a lot, and over time I started to write other music and take on film scores,” Orton says. Besides Tin Hat and collaborations with the likes of Tom Waits and Willie Nelson, Orton has scored several films including Big Significant Things and neo-western Redemption Trail. “I look for the inner personality of the film that I can reflect in the music as well as look at individual characters and how they might be reflected musically,” says Orton. “I like things where music is a character in the film and not just used as a textural backdrop or to nudge scenes in emotional directions. Twenty or more of the 28 pieces of music in Nebraska are not under dialogue; it’s just image and music. I’m drawn to that, because there’s a lot of artistic freedom.” Orton’s penchant for acoustic instruments, many of which he collects, lends itself to both the scenery and plot of Nebraska, which is about an estranged father and son’s road trip. “I use an organic palette of acoustic instruments and textures. I think that is associated with open spaces and road trips. A film like Nebraska, you’re in the plains. It’s not like you couldn’t do something sweeping and orchestral, but I think it’s not the first thing that comes to mind,” Orton says. “And I like motion, too. I think the group Tin Hat was a lot of people’s first entrance into my world and what I create. There’s a certain groove sense in that group and strong rhythmic component. The rhythmic side of things goes a lot with travel and road trips.”
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RIP Alex Lust Of The Feisty Piranhas Alex Lust, frontman for rockers the Feisty Piranhas, passed away recently. He was 25 years old. Despite his severe hearing impairment from birth, Alex developed his innate talent for music that grew throughout his all too short life. The Feisty Piranhas developed a fervid fan base, opening for the likes of the Misfits, NOFX, the Dickies, Filter, D.R.I., UFO and more. Music Connection, which followed Alex Lust’s artistic exploits through the years, extends its heartfelt regards to his family, friends and fans. See https://fb.com/feistypiranhas. A moving tribute is at http://demo craticunderground.com/10024320644.
Krieger with Kaplan at the Gibson The Gibson Showroom in Beverly Hills was the setting during Grammy Week for a special evening in tribute to the Beatles. Performers at this loose and informal jam session included Brian Wilson, Kris Kristofferson (joined by guitarist Earl Slick), Mickey Dolenz, Jimmy Webb and Doors legend Robby Krieger, who joined Jonny Kaplan and his band for a classic Fab 4 number.
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A Star Is Born
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STEFANIE KEENAN
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GARRY SUN
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Among the luminaries at the Grammy Foundation’s A Star Is Born event, (l-r): Peter Asher, Patti Everly, songwriter/artist Brian Stewart, Capitol Studios Mgr. Paula Salvatore.
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Red Light Mgmt Holds Post-Grammy Party
Red Light Management (Ben Harper, Alicia Keys, Tim McGraw, Alabama Shakes) held its annual post-Grammys party at Sky Bar at The Mondrian, presented by leading skin care brand Olay. Attendees, many of whom hung out in the Dell Lounge, included Harper, Victoria Justice, Ariel Winter, Pia Toscano, Pretty Lights and Kelis. Pictured (l-r): Herbie Hancock and Bruce Eskowitz, COO of Red Light.
C Primary Wave Music’s Pre-Grammy Event at RivaBella
Primary Wave Music Group held its annual Pre-Grammy party at the RivaBella in Hollywood, an event that hosted A-list artists and industry heavyweights. Pictured (l-r): CeeLo Green, Melissa Etheridge and Larry Mestel (CEO of Primary Wave Music and manager to both Green and Etheridge).
– ANDY MESECHER andym@musicconnection.com
TAYLOR RAMBO
10 Years Later, Emery Still Asks, ‘Are You Listening?’ To celebrate the 10-year anniversary of their Tooth & Nail debut The Weak’s End, emo-core founders Emery toured the U.S. DIY style. The band offered various ticket packages including dinner with the band, Q&A sessions, unique merch and standard general admission. Founding member Devin Shelton reunited with the band to split original vocal duties with Toby Morrell. Performing The Weak’s End from beginning to end, the band began the show screaming the three words that will forever ring in fans’ ears, “Are you listening?”
Crüe Calls It Quits After 30 Years
Tidbits From Our Tattered Past
1985-Unforgiven-#13
KEVIN ESTRADA
Mötley Crüe held a press conference at the Roosevelt Hotel in Hollywood to announce their resignation from the industry. The band will do a 72-city North American farewell tour and each member has signed a binding agreement preventing any of the four from ever again touring under the name. More details at http://motley.com.
In this issue of MC, writer Melinda Lewis detailed the bidding war that developed around the duster-donning, guitar-driven band, the Unforgiven. "The Palace was a veritable ocean of A&R types," Lewis wrote, "not only checking out the band but checking out each other's reactions." Elsewhere in the issue are profiles of the Raveups, a concert review of Van Morrison and an in-depth exploration of the new Simmons electronic drums.
The 2014 NAMM (National Association of Music Merchants) show was bigger than ever with hundreds of thousands of people coming and going to see what the pro audio industry has to offer in the coming year. A Pictured (l-r): Ian Neville of the Neville Brothers, Hal Henkel of Flying Camels and David Gartland of Saga Guitars at the Saga booth. B Pictured (l-r) at the Alfred booth: Vincent van Haaff, Bobby Owsinski, Mike Avenaim, Lenise Bent, Ashlee Nichols, Cynth, Cimcie Nichols, Ron Manus, C.J. Vanston, Ron Lagerlof and Jeff “Skunk” Baxter. C Pictured at the event (l-r): Music Connection Publisher Eric Bettelli, Phil Celia and Mojave Audio President Dusty Wakeman.
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In our cover story on indie buzz act the White Stripes, Jack White explained the philosophy behind the duo's strikingly different image. "If you go onstage in jeans and a T-shirt," he said, "you're doing what 10,000 other bands are doing. You are choosing that image, but you are choosing what 10,000 other bands are choosing."
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Haim BELLA LIEBERBERG
BY DANIEL SIWEK
36 March 2014
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aybe it is not such a coincidence that the three Southern Californian sisters of Haim (in order from big to little sis’: Este, Danielle and Alana) are calling us from Brisbane––recently declared the hippest city in Queensland, Australia––because not only are these ladies hip, but their debut album Days Are Gone (Polydor in Europe, and Colombia in the U.S.) just went Platinum. After first venturing out as the Valli Girls, a more Nickelodeon-friendly act, Este and Danielle returned for their “baby” sister and worked for several more years on their Forever EP before releasing it online for free (and eventually putting out a 10-inch on the National Anthem label). Career milestones have been frequent lately. The song “Forever,” which also appears on their full-length, was recently remixed by the godfather of EDM, Giorgio Moroder, proof of how they shape-shift through different genres and scenes––from pop, to hip-hop, and indie-rock. Another example is their single, “The Wire,” (which they performed on SNL), contains a beat that they meant to sound like Gary Glitter-Joan Jett glam rock, but ends up heralding the revival of “Heartache Tonight”-era Eagles “Urban Cowboy Disco.” Meanwhile, the trio have been winning over crowds and leaving audiences wanting more at festivals like Bonnaroo, Lollapalooza, Leeds, SXSW and Glastonbury (where they played the same stage the night before the Rolling Stones), and if you already bought your tickets you can catch them at the upcoming Coachella Festival in Indio, CA. Simultaneously hi-tech and lo-fi, Haim are Wilson Phillips meets Luscious Jackson meets a host of other influences, but they still teach us how important it is to have the confidence to find your own way. We’ll also learn from these Israeli-American Valley Girls that sometimes your much-coveted manager may come from somebody else’s guest list!
Music Connection: What can you tell us about your musical upbringing and playing in a band with your parents? Alana: [Our] dad is basically the reason we started playing music, I mean, my mom too–– but he said that he had this dream one night that we were all going to play music together, and as the story goes, he woke up the next morning and bought all our instruments. Before there was Craigslist, my dad traveled up and down California to get some really good gear. When I was about four we started Rockinhaim, our family band. We only played covers at charity events because my mom was against us playing gigs for money. Instead of going on family fishing trips our family practiced music and played shows in clubs. Este: I think it was also because all three of us had all this pent up energy––I’m sure we had undiagnosed ADHD––and I think and they put us in dance and music and choir to tire us out–– and it worked. MC: Do you think being sisters gives you a special intuition as musicians? Danielle: I’ve never known it another way. This is natural. We’ve always listened to the same music and had the same sensibilities, you know? We’re each a little different, but we know if we’re on to something or if it could be better. Alana: A lot of people don’t get why Este and I get along so well. And I’m vomiting as I’m saying this, but music actually did bring us together. When I was 16 Este finally convinced my par-
lends itself to having different types of songs. Este writes different than I do, so her songs are going to be different than mine. But then there’s a song like “The Wire,” where we each wrote our different parts. We’re still trying to figure it out as we go, but I feel like we’re doing what we like, and the only pressure we’re concerned about is the pressure we put on ourselves. People know, it’s pretty hard to fuck with three sisters. MC: Speaking of Fleetwood Mac, you do a killer version of Peter Green/Fleetwood Mac’s “Oh Well.” How did you come upon that classic cut, and does it make you feel good to be blowing old British dudes’ minds when you whip it out? Danielle: We had a cut on this Fleetwood Mac compilation [they covered “Hold Me”] and I ended up being in the studio at the same time as [ZZ Top’s] Billy Gibbons, who is one of my heroes. He was recording his version of “Oh Well” and I got to play the drums on it! Then we [Haim] said, Why don’t we try it? It’s the one time in the set that we have a blues jam rock out, because we don’t normally like to jam onstage. It’s more pop music, and there’s not a lot of guitar solos on the record because I feel it’s better to just go back to the song. But I like that we can go, “Look, we can do this too.” With “Oh Well” we can really let loose and it’s fun to see people’s reaction to it. MC: As authentic [San Fernando] Valley gGirls, can you tell us a little about playing the Los Angeles club scene, residencies, etc.?
“We played wherever we could for the first two years. And then we started making friends around L.A., playing The Cobalt Café, Spaceland, the Echo, always opening up our friends’ residencies. We did that for five or six years straight.” – Danielle Haim ents to let her take me to concerts in L.A. I still had a curfew but at least I was allowed out, and that’s when Este, Danielle and I started to really bond. We were always so close, but the second that we could all go out to the Troubadour together or the Echo or the Silverlake Lounge, that solidified our bond. MC: You are very Wilson Phillips-like in the way you harmonize and bounce lyrics back and forth, trading lead vocals. Has anyone ever suggested that the band have a clear-cut frontwoman? Danielle: I really love Wilson Phillips. I think that it’s unique when you can be a band that features different lead singers. I like that about Fleetwood Mac, I like that in the Eagles, and it
Este: We never landed a residency, thank you. That was the whole reason why we put out the Forever EP, because we thought it would get us a residency, but it didn’t so we kind of made our own residency by opening up for all these bands. We basically created our own residency by always being the first of three acts. In fact, our ongoing joke was that we should just be called The First of Three, because for about five years that’s what it was like. But we love playing live, so for us it didn’t matter how long our set was, or where it was, we just wanted to play. Danielle: It was hard in the beginning. We didn’t really know anyone outside of the Valley, so we just played around when we started in 2006. Our first gig was in North Hollywood, at the CIA, which was kind of a weird venue, but it
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was the only place that would allow us to play; and it was pay-to-play, which kind of sucks. And from then on we just played wherever we could play for the first two years. And then we started making friends around L.A., playing The Cobalt Café, Spaceland, the Echo, always opening up our friends’ residencies. We did that for five or six years straight. MC: This being Music Connection’s “Managers Issue,” we have to ask: how did you hook up with Jon Lieberberg, your manager? Danielle: We were still playing around L.A. even in between my tours [in backing bands for Jenny Lewis, Julian Casablancas and CeeLo Green], but my sisters were still in school so we couldn’t really get off the ground. Then we opened for our friends Chief at The Troubadour [in 2010]. John was in the audience to see them, not us, but he came up to us and asked if we had a recording. We always told everybody that it’s getting mixed or something, but we admitted to him that we didn’t. We were writing new songs, and so we kept in contact with him, and later we decided that we should work together. And after that, things started taking off. MC: Your manager was with Live Nation, but now works for Jay Z’s entertainment company, Roc Nation. And you’re on Columbia Records. So now that you are in the big leagues do you have people trying to put in their two cents about your career and what you should be doing? Danielle: Everything you see and everything you hear comes directly from us, and the label knows it. That was the man thing. We were able to sign a record deal with people who said, “You guys are doing something right,” and so they just let us do our thing, and their hasn’t been any weird stories like, “The label made us do...”––they’ve just been awesome.
MC: Then how do you three handle your day-today business dealings with them? Danielle: We just come together and go over what we need to do, and if we want to do something we do it, but if we don’t want to do it we don’t. MC: For the longest time, you weren’t satisfied with your demos. For instance, the Forever EP was re-recorded several times, once with the legendary producer Mike Chapman. What prevented you from releasing music to the world? Danielle: We went into the studio every year since 2007 to try to get a demo, and every time it just didn’t sound right. It sounded like a run-ofthe-mill post-‘90s rock band because we didn’t know anything about production value. Mike Chapman is amazing, he had the best vibe in the studio, and knows how to get a good performance out of a band, but we didn’t release it because we felt it wasn’t the best that we could be. It just didn’t sound modern enough. We are into so many different types of music––we like sub-bass and keyboards––and it wasn’t until I toured with Jenny Lewis and then with Julian Casablancas that I got a better understanding of what touring was and what it takes. I saw how they wrote everyday, and how they really cared about what their music sounded like, and that’s what I wanted for our band. Este: Basically, our friends would be like, “You guys have been together for five years and you haven’t released anything––like, what the fuck are you doing?” It wasn’t until the Forever EP that we were really happy with what we’ve done and we put it out online to show our friends, “Here you go, assholes! We’ve finally recorded something so you can stop making fun of us.” We made the EP to be able to say, “Here it is, we hope you like it,” but we don’t give a fuck because we love it. It was a real proud moment for us.
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MC: Do you feel that you’ve found the balance between nostalgia for big studio ‘80s pop, ‘80s lo-fi (with those Casio-like drums) and today’s glitchy laptop music? Any advice for new artists trying to find their way around a studio? Danielle: I think Garageband helped a lot, because we understood what was good and what we should re-record, and we evolved in our learning when it comes to recording. We have a better idea of what we like, and with new technology now you don’t need to go into a big studio. That really blew our minds, how we could have saved so much money instead of going into a big studio and coming out with something lackluster, sometimes something recorded on an iPhone microphone sounds cooler, you know what I mean? We threw away the rules and that was a big discovery to us as a band. There’s not a certain way to do things. MC: You really have to know what you’re doing, though, to make a home studio sound fantastic. Danielle: I’m not disregarding a big studio at all––you really can’t fuck with Sunset Sound when it comes laying down big sounding drums on tape––but you can make something sound more special rather than just going into a studio and miking every drum and making it sound “professional,” which sounded boring to us. Drum machines are really classic now, so I would play drums but then we’d stick a drum machine snare to the real snare so it has an extra element. I think it’s cool to play around with that stuff and it’s easy now with technology. MC: You uploaded your Forever EP online and the Spotify version of your debut full length has a track-by-track interview segment. Is it safe to say you are embracing online music and social media? Danielle: We kind put it on Facebook and Soundcloud just saying, “this is our EP.” And
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it really grew form there. I didn’t know much about blogs before we started but now we have a better understanding of them. I think Spotify is cool because it helps in the discovery of new artists, and like how we were able to talk abut each song. When I hear stuff like that about artists I find it to be an awesome learning tool, like, “Oh, I had trouble getting that drum sound too. Wow they re-wrote that song because they didn’t think it was good enough.” It’s comforting to know how artists feel about making their music. And yeah, we try to do extra things so people can kind of get to know us through social media, because I do think it’s really important to have a direct dialogue with your fans online, I think that’s the most useful tool as an artist. I’ve seen other artists set the record straight on things. We write what we want to let our fans know what’s going on with us.
MC: How does it feel to have one of your songs remixed by the one and only Giorgio Moroder? Alana: Oh my god. First of all, he’s Giorgio Moroder! He’s a legend, at least in our family he’s a fucking god, and the fact that he even thought about doing a remix for us is like insane. When our manager told us Giorgio Moroder was doing a remix we were like, is there someone new named Giorgio Moroder? He was like, no, it’s the Giorgio Moroder. We almost died. And it’s the sickest remix I ever heard, it’s so on the next level. Danielle: I love the remix that he did. It was a pinch-me moment. MC: What are your plans for the next year; how do you plan on promoting yourselves? Danielle: I think we’re just going to keep doing what we’re doing, and keep writing and keep
demoing. And I still have my trusty Garageband setup, so we’re going to keep doing what we’re doing––it’s worked so far. Este: Next year I hope we’re wrapping up record two and still touring and seeing the world and, you know, making new friends and meeting new people and staying creative. And becoming better songwriters, just having fun, because we just want to have a good time. I think the paramount thing is that we just want to have a good time. That’s why we started the band. It’s kind of our devious plan; it was like, “How can we see the world and be together at the same time?” And the answer was, “I guess we’re going to have to start a band, write music and go on tour!” Contact Brooke Black Just-Olesen, brooke@ bighassle.com; http://haimtheband.com Twitter: @Haimtheband
QUICK FACTS
r Alana likes to mix it up with the audience,
even giving out her phone number, which still has her personally answering text messages.
r “If you keep on making that face, they say,
your face will freeze like that.” Este’s probably heard that a thousand times, but she still can’t stop making her now infamous “Bass Face,” she explains. “I think it’s the only time where we really allow ourselves to fully let go and that’s what comes out.”
r Another highlight of their show is when
they invite their parents up to play on stage. Their Israeli dad, Moti, particularly gets into it. He shows the “Drummer Face” so it must run in the family.
r The group appeared on Saturday Night
Live in October 2013, where they performed “The Wire” and “Don’t Save Me.”
r “What is Haim?” was an answer on a recent episode of Jeopardy.
r Among other collaborations, Haim sang
on Kid Cudi’s “Red Eye,” from his Indicud release, as well as Major Lazer’s “You’re No Good,” (with Santigold) from his Free the Universe album.
r The Fleetwood Mac tribute album they
appear on is called Just Tell Me That You Want Me: A Tribute to Fleetwood Mac, and in addition to Billy Gibbons it also features Lee Renaldo Band/J Mascis, Best Coast, Marianne Faithfull, the Kills and Tame Impala.
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7
Things You Need To Know About Management Contracts BY BERNARD BAUR 40 March 2014
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ngaging a manager is a milestone event in an artist’s career. Indeed, most artists would love to have someone take care of business and enable them to develop artistically. However, in order to have a rewarding management experience, artists need to know what is involved and what
is expected. In this exclusive feature, Music Connection spoke with a trio of experts to analyze and discuss the most important areas in management relationships, and contracts in particular.
THE WRITTEN WORD Managers are one of the few artist reps who are unlicensed, unregulated and need no experience (unlike, attorneys, agents and business managers). In fact, anyone can call him or herself a manager; all they need is a business card. That’s not necessarily a bad thing––if a manager is passionate about an artist and bright enough to learn the business––but it could be a scary thing, especially if there are unrealistic expectations. A written contract could clarify the situation and outline what each person is expected to do. Music attorney Burgundy Morgan affirms, “For most people the written word is a useful tool. It can clear up confusion and encourage
Ozzy Osbourne. In 2005, he co-founded Mercenary Management with John Fenton, and currently represents Zakk Wylde, Black Label Society, Powerman 5000 and Black Veil Brides, among others. Blasko relates, “I take it on a case by case basis. If an artist is already established, has sold records, tours, and knows what a manager does, I’m more inclined to go without paper. You usually know if it will work right away.” With new acts, however, Blasko prefers contracts. “Sometimes in this business,” he notes, “you work hard developing an act, which may take years to take them from zero to 60…and, then, just when you should be enjoying the rewards of your labor they leave (or get stolen). With a contract at least you can protect your investment.” Morgan opines, “The relationship between an artist and manager “If an artist is is only as good as the people already established, involved––whether they have a written agreement or not. If has sold records, management does what they say they will do, and artists recognize tours, and knows it, it can work out.” But, Morgan believes clear communication is what a manager vital. “Artists and managers must communicate in a transparent and does, I’m more honest way. If they do that, they’ll inclined to go have a better chance of achieving their goals and growing together.”
at the Musicians Institute in Hollywood, saw that scenario so often she co-authored a book titled, …But Where Do I Sign? (a guide to understanding music industry contracts). She believes artists sign the first contract they’re offered because they’re both excited and intimidated. “They’re afraid the deal will go away if they question it,” she explains. “It’s a lack of confidence on the artists’ part. And, unfortunately, they may sign an unfair agreement because of that fear.” In reality, music biz professionals expect questions, clarifications and negotiations regarding a contract. “In fact,” Morgan states, “they should have no problem with it at all, as long as they’re fair and reasonable people. Everything is negotiable in this business. But, most importantly, artists
without paper. You usually know if it will work right away.”
– Rob “Blasko” Nicholson, manager communication. But, she warns, “A death rattle can start when unspoken expectations are not met. An artist and manager need to know what each wants and expects out of the relationship. And, a contract is a good way to flesh that out.”
YEAH… BUT WHERE DO I SIGN? Although they should know better, artists sometimes step on their own feet, especially when it comes to signing contracts. They will sign the first piece of paper put in front of them, often to their detriment. Morgan, a veteran music attorney and professor for the Music Business Program
should always have someone knowledgeable review (and possibly negotiate) a contract before they sign it.”
FLYING NAKED Some managers––often, top-drawer management companies––fly naked and have no written agreements with their artists. Of course, Morgan notes, “Oral and implied agreements are still enforceable. And usually it’s high-powered managers with superstar acts who forgo contracts, because they both do what they say they’ll do and actually get results.” Rob “Blasko” Nicholson is one of those managers. An artist himself, he is best known as the bassist for Rob Zombie, Danzig and
THE MANAGEMENT CONTRACT Most managers want their artists to sign written agreements. If you are offered a management contract, there are some issues that you really should know about. Below we list and discuss seven of the most important areas that artists should be aware of.
! DEFINE TERMS & OPTIONS The term (i.e. time period) of a management agreement is important. You need to know how long it will last and if there are options to extend it. Most management agreements range from two to three years with options. Some managers, like Blasko, use album cycles. “I think that makes more sense,” he says. “Albums are milestones in an artist’s career.” That may be true, but options are the tricky parts. According to renowned music attorney Ben McLane, who represents superstars as well as emerging artists, and has authored of over 75 articles about the music business, March 2014
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“It’s important to know how an option is exercised. Some options roll into new terms automatically, while others are subject to conditions.” It should be noted, though, that options are generally at the discretion of management. McLane notes, “Most managers are reluctant to give artists any power regarding options. Even mutual approval is hard to get.” As a result, artists may want to impose performance conditions (see below) on option periods, as well as the relationship itself.
! SET PERFORMANCE CONDITIONS & BENCHMARKS It is important to know who does what. Management contracts tend to be notoriously vague and ambiguous. Most simply state that a manager is only obligated to advise, guide and direct an artist’s career, and may be even less specific regarding the artist’s duties, other than reimbursing the manager for any expenses advanced. “Obviously, it would benefit the artist if the manager must accomplish a specific result,” McLane counsels. “By inserting performance conditions with time limits, the artist can have the option to terminate the agreement if the results (e.g., a record deal, income, an endorsement) are not obtained.” The performance conditions depend on what the artist wants and needs. McLane likes to negotiate earnings. “I try to negotiate earned income. By the end of the second or third year the artist should be making a net income of $100,000.” Morgan likes to set benchmarks, i.e. an opportunity or particular service. “You should be very specific,” she advises. “That way you can measure the effectiveness of a manager.” Indeed, both counsel are in agreement that without performance conditions and benchmarks an artist could be locked into a dead end deal with no way out. When it comes to an artist’s duties, Blasko laughs, “Other than recouping expenses, it’s relatively nebulous. You can’t force artists to do things. But,” he says, “I expect them to be professional, show up on time and do what they need to do.” Sometimes, however, artists are stubborn and refuse to do what they should––even if it will benefit their career. “When that happens,” Blasko relates, “you improvise and overcome. That’s when managers really earn their money.”
" GROSS IS GROSS The average commission for managers today is 20% (of all income streams). That is negotiable, depending on the status of the manager and the artist. Elvis Presley’s manager, Colonel Parker, displayed a ruthless devotion to his client’s interests and made Elvis a superstar. He also took 50% of everything Presley made. How a manager assesses commissions is most critical. Back in the dark ages of the music business, managers often commissioned “gross income” across the board. That frequently resulted in a manager making more than the artist, sometimes much more if expenses (for example, recording and touring budgets) were significant. Nowadays, modern managers use a different formula to calculate their commissions. In fact, today, managers who only commission gross income are 42 March 2014
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don’t want the money train to stop. So, they considered dinosaurs who probably don’t decide to release the old demo Manager A know the music business has changed. They set up. Everyone thinks it’s a great idea— can do as much damage to your career as “Unreleased Songs from the Vault.” they do to your pocket book. The Problem: If there is no “Sunset Clause” Fortunately, according to McLane, in Manager A’s agreement, Manager A “You don’t see many managers who only may be entitled to a commission … and so commission gross income anymore. Today, is Manager B. You would be paying TWO most use an ‘adjusted gross’ or ‘net income’ formula. Adjusted gross,” McLane explains, “is gross income minus reasonable, “Artists should customary and specific expenses.” NEVER grant “The only problem,” Morgan reports, “is that an unrestricted sometimes the formula for determining an adjusted ‘General gross or net can be complicated and confusing. Power of It’s always better if you can keep it simple but fair.” Attorney.’ That
# ACCOUNT FOR INCOME & EXPENSES
would give the manager total power and control without having to consult with the artist.” – Burgundy Morgan, music attorney
Expenses are part of this business and, occasionally, a manager may advance an expense. When that happens, artists must usually reimburse a manager, either from earnings or personally. Morgan suggests that you put a “cap” (a maximum amount) on expenses so it doesn’t get out of hand. She also informs, “Artists should require a manager to get their approval for expenses over a certain amount––say $200––before they incur the expense.” And, if a manager is advancing expenses, or expects the artist to pay a certain amount for overhead, an “accounting provision” should be included in the contract. Such a provision is especially important if management receives, processes and distributes income the artist generates. It would require the manager to send statements on a regular basis and allow the artist to audit management’s books.
$ RIDE INTO THE SUNSET Most artists realize that they will probably engage more than one manager during the span of their career. But, artists may not realize that a manager might be entitled to commissions long after the relationship has ended. Anything the manager helped to obtain or arrange during the term of the agreement might be subject to commissions. McLane reports, “It’s not unusual for some managers to want a percentage for anything that happened during the term of the agreement. And, sometimes, that could be in perpetuity unless a ‘Sunset Clause’ is included.” A Sunset Clause reduces a former manager’s commission over time. Example: “Manager A” helps you record a demo for shopping purposes. But, you don’t get a deal and eventually move on. Later, you sign with “Manager B,” who is better connected and gets you a deal. In fact, you become a superstar. After a few years you take a break (you’ve worked very hard), but Manager B and your Label
Managers 40% instead of one manager at 20%. Sunset Set-up: Once a management relationship is over and the agreement is terminated, the Sunset Clause kicks in. The terms are negotiable, but essentially it would reduce your ex-manager’s commission over time, e.g. 5% less each year until it reaches 0% (after 4 years). Some managers, however, may not agree to 0%; instead, they might insist that their commissions remain at 3% or so (1% to 3% is average). Some managers also like to use a Sunset Clause for their benefit. Blasko uses them so that he gets compensated for work he’s doneeven if it is years later. “It’s only fair,” he says. “If you did the work, you should be entitled to share in the profits. By using a Sunset Clause, there’s no question or argument regarding what a manager’s share would be.”
% LIMIT THE POWER Management contracts sometimes include a Power of Attorney that gives the manager a variety of powers, including signing contracts for the artist. Essentially, it allows the manager to step into the artist’s shoes. Our attorneys don’t particularly like this clause. In fact, with today’s communication systems being easily accessible (via cell phones, email, faxes, etc), this provision may be as dated as hair metal. Morgan strongly emphasizes, “Artists should NEVER grant an unrestricted ‘General Power of Attorney.’ That would give the manager total power and control without
having to consult with the artist. There must be strict limitations on it—like only when the artist is unavailable, has been notified and approves.” McLane goes even further. “It’s really not wise for management to sign things for artists. Most managers I know prefer to have the artist sign documents. In fact, I would worry if a manager insists on having a Power of Attorney with no restrictions. That would be a big red flag.”
! DISPUTE RESOLUTION Even in the best of relationships, disagreements will arise. How you resolve them can determine whether or not your relationship will survive. Many management agreements will specify that “arbitration,” prior to or in lieu of a lawsuit, is mandatory. Arbitration is a form of alternative dispute resolution that resolves disputes outside of the courtroom. It is a proceeding in which an impartial arbitrator resolves a dispute. Nonbinding arbitration is similar to mediation, in that a decision cannot be imposed on the parties. However, the principal distinction is that whereas a mediator will try to help the parties find a middle ground on which to compromise, the (non-binding) arbitrator remains totally removed from the settlement process and will only give a determination of liability and, if appropriate, an indication of the damages payable. Attorney McLane informs, “Usually, you have to decide if you want arbitration to be binding or non-binding. Arbitration is faster and less expensive than a lawsuit.” The reality today, however, limits your options. According to McLane, “In Los Angeles, you are forced to go to arbitration before you can pursue a lawsuit.” As such, arbitration is a procedure you must seriously consider. The only choice you have is whether it is binding or non-binding. And, it’s important to note that the prevailing (winning) party is usually entitled to have their attorney’s fees and legal costs covered by the losing party.
PLAYING FAIR What’s most interesting is the fact that everyone seems to be more savvy than they were years ago. Artists are smarter (hopefully because of Music Connection),
and management contracts are evolving accordingly. In fact, Morgan has noticed, “Lately, management contracts appear to be more fair than they ever were before. Even when I see a contract that is very one-sided, it’s not necessarily a turn-off.” What Morgan discovered is that even when a contract is hideously oppressive, it is not necessarily a deal-breaker. She expounds, “I found that managers who presented bad, one-sided contracts were usually trying to save money and simply copied and pasted old agreements together or took something off the Internet.” That may give an artist cause for concern regarding a manager’s business acumen and expertise. But, it really depends on what an artist wants the manager to do. If you already have an attorney, then your manager doesn’t have to review contracts. There’s only one problem with it, though. According to Morgan, “It can cost you a lot––thousands of dollars––to negotiate a one-sided contract.” Instead, she recommends, “You may want to simply counter with a contract that has been approved by counsel (maybe even one from the Internet), or have an attorney draft a template for you.” Whatever you do, just make sure the contract is fair for all concerned. In fact, if you’re a new act and your manager is going to grow with you, be sure to re-examine your agreement on a regular basis so that it remains fair to everyone.
CONTACTS: ATTORNEYS Ben McLane McLane & Wong http://benmclane.com bcmclane@aol.com Burgundy Morgan Burgundy Morgan Law Offices Co-author, …But Where Do I Sign? http://burgundymorgan.com burgundymorgan@aol.com MANAGEMENT Rob “Blasko” Nicholson Mercenary Management http://mercenarymanagement.com info@mercenarymanagement.com
“Most managers are reluctant to give artists any power regarding options.” – Ben McLane, music attorney
MANAGEMENT CONTRACTS – A CHECKLIST
"
Do NOT ever sign any contract without first getting it reviewed.
#
Check the term of the agreement–– especially how option periods are exercised.
$
Determine what income is commissioned, i.e. gross, adjusted gross or net.
%
Know who does what––be specific–– and note time limits.
&
Include performance conditions and benchmarks to ensure real results.
'
Make sure there is a Sunset Clause to diminish commissions over time.
!
Include an Accounting Provision for statements and audits.
(
Do not grant an unrestricted Power of Attorney––impose limitations.
(
See if you’re comfortable with how disputes are resolved.
"
Make sure you feel comfortable with and have confidence in the manager. March 2014
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– LOREN WEISMAN
So You Think You’re Ready For Management? Reality check! So you have the music, the show, the look. You figure that all the business stuff just needs to be handled by someone else. I mean, you are just that good. All you need now is the management, the booking agent or the label to make it happen. That’s how it works, right? You can still make a fortune, right? You are the artist, you don’t have to deal with the business end of things at all. Right? Wrong! And your inability to see reality will ensure that you remain unnoticed, unheard and penniless. Musicians who are disconnected from reality seem to ignore that a period of development has to take place first. If you haven’t developed the business side of your career and are just expecting it all to be handled by someone else, then you’d better be patient, because it's likely to take a while—and a whole lot of money. And if you are not personally funding your development, then you’d better believe your prospective manager will not only be looking for a return on his investment in your project (with interest), but will also want a pretty big piece of the pie seeing as how he stood behind you when no one else would. Lastly, in that scenario, don’t forget you are now more than likely locked in a contract that will give this group or person percentages of your income well after you have moved on. Also keep in mind that many managers, agents and labels need to justify spending the time or money on you. The more you cost, the bigger the chance they are taking on you, and the more you will pay in interest and percentages down the line. When it comes to risk, it has nothing to do with your amazing song, it comes to the whole package. Think about this: you have heard some awful bands and awful songs that have gone through the roof to success and others that are so much better that don’t even tread water. So when are you truly ready? In an era where every dollar counts, why give it away when you don’t need to? In an era where less and less money is being invested in bands, when it actually is invested these “backers” are owning as much as possible, so why give up all the extra control and money? In an era when there are more and more
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bands that are a higher risk, why not be one of the safest and most secure bets? Simply put, organize your branding, promotional and marketing materials. If you can hand off something already in place— uniform and prepared, that might only need
a tweak or two—you are saving the time and money of that manager or agent and bringing you both closer to making the most money possible. If you can record a great album with your own money—or with small investors or donors— to present and be used for sale, distribution and promotion, then you won’t have to be in the studio with a label, spending their money and time on creating a product you could have made DIY keeping more ownership rights. If you bring a final product to the table, they can spend the time on distribution and put support into the things that will make more money with less money to be recouped to various partners. Patience now! Prepare as much as you possibly can.
Work the content, the bios, the taglines, the logos, the music, the social networks and websites as well as all the bells and whistles that you can afford yourself or find others who will only need their investment back instead of massive interest and wild percentages. Work to be your own agent or manager first. Build the product, the package and the plan, then go to the label, the manager or the agent and be able to use a higher echelon, more experienced and more effective person or team to work with what you have created. Be effective, productive and profitable right out of the gate. Do the math! An indie band who have some kind of representation can make $200,000 in eight months. But after you take out the percentages for all the tasks the band could have slowly done themselves, they are walking away with $20,000 before taxes. Divide that figure between four guys and the result is: each player didn’t make enough to live on for two months after the tour. Those numbers are realistic. The percentage, though extreme, is far from an extreme in today’s industry. These bands who have played in front of thousands for months at a time are coming home in debt, needing to pick up jobs and stuck in contracts and agreements they can’t get out of. The band who took a little longer, found investors and donors at a fair interest rate are able to pay back their investments and maybe, in a worst case scenario, they only bring in 50 percent. That is still $100,000; 25 grand for four guys is not too shabby. So patience is the rule. Be careful! Figure out what you can do, how you can do it and where you can find and raise the money to execute it. Be organized, be patient and be wary of any offers coming in to take care of everything for you, because when someone or some group comes in to “take care of everything for you,” you better believe they plan on taking everything they can for themselves. LOREN WEISMAN is an accomplished music producer and consultant based in Seattle, WA. Having worked on hundreds of albums, studio productions, and tours as both a drummer and producer, he's gained a spectrum of insight on the music industry as a whole. Weisman is the author of The Artist’s Guide to Success in the Music Business. http://artistsguide.net.
– BRETT BUSH
On the Blue
Festival Ships: Rockin’ All The Way to the Bank
O
ver the past 25 years, the theme cruise industry has boomed from a novelty for a few niche groups of wine enthusiasts, Rick Springfield fans, Scrabble players and big-band aficionados to a multi-million dollar segment of the cruise industry. Ships are bigger, fan perks are more exclusive, ticket prices are higher and production values on this new breed of “festival ships” rival those of arena shows. Even Weezer and Flaming Lips have done successful cruises. On the Blue is one of the leaders in this business. In Spring of 2014, the company is producing three cruises, Monsters of Rock, The Moody Blues Cruise and Cruise to the Edge. Partner Mike London states that even if these and remaining cruises throughout the year don’t sell out (Monsters of Rock is sold out), the sales will be in the black for each cruise this year. “Each cruise includes performance by multiple name acts with a particular type of fan base. It is not just a concert cruise, it’s an immersive experience.” That immersive experience may include meet-andgreets, signing events, VIP cocktail parties and other opportunities to interact with the artists. And for this, passengers are willing to pay two or three times the fare for a comparable, non-theme cruise, with interior double cabins starting at $799.00 per person, for example, on the Cruise to the Edge, and a large balcony single commanding $3,598. Taxes and gratuities are additional. On the Blue cruises typically depart out of Miami and include four or five nights cruising Honduras and Mexico or the Bahamas. The cruises also include standard amenities such as spa services, pools and sports courts. The three cruises combined will host more than 10,000 passengers. Each cruise includes multiple artists. Monsters of Rock features more than 30 acts including Tesla, Ratt, Cinderella, Winger, Kix, Quiet Riot and L.A. Guns. The Moody Blues Cruise features that band, plus Roger Daltry, the Zombies, Carl Palmer and others, while Cruise to the Edge stars Yes, Marillion, Queensryche, Tangerine Dream among others. The company has sailed more than 100,000 passengers over the past 20 years, which has included corporate charters and non-music theme cruises.
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“Back in the ‘80s, cruise ships carried 1,000-1,500 passengers,” says London, whose background is in the cruise industry. “To do a theme cruise with music, you were limited to using the ship’s showrooms, which clearly weren’t designed for large rock acts. Now, they are not ships, they are venues. Currently, we install five semi’s full of sound and lighting, custom stages—an average of a half-dozen for each cruise—and the showrooms have sound systems that rival a U2
concert. It’s easily one to two million dollars worth of equipment.” Because On the Blue charters the ships, which are chartered for other cruises throughout the year, the company has a large warehouse in Cincinnati, OH, with production partner Loud and Clear, Inc. “Since most of the ships are European,” he says, “we have to use special transformers for electrical power. We used to bring generators, but it became impractical.” Once On the Blue charters a vessel, the owners step out of the picture. On the Blue staffs each cruise with 80-100 staff members to provide security, customer service and stage crew. Bands normally receive a flat
fee for their performance and participation, which varies according to the activities they commit to. The company has a core year-round staff of 12 full-time employees, and typically employs the same seasonal employees for each cruise. The company does not spend much on advertising and marketing. “Social media has revolutionized marketing for us. The Monsters of Rock audience was pretty much built on Facebook, and now 60%70% are repeat passengers.” It also allows an easy reach to international customers— Cruise to the Edge will bring fans aboard from 25 countries. The crucial part of marketing, however, is tapping the right fan base. “The biggest selling artist may not be a good match; the artist must have a particular kind of cult following,” London specifies. “One of our competitors put together a Bret Michaels cruise about a year and a half ago, and it didn’t sell. It was cancelled.” Of course, the target audience must have the time and money to invest in these experiences. “We really like the older crowds; that plays into the type of cruises we create.” While the Monsters of Rock demographic is 20-60, the average age is 45, and Cruise to the Edge and The Moody Blue Cruise average 45-60 year-olds. “I got the idea for these cruises about 20-25 years ago, toying with new ways to market cruises, with differentiating the experience instead of basing it on pricing, which was the common strategy,” says London. “I saw the generic jazz and big-band cruises that were new then, and thought, ‘What if we hire name acts?’ We’ve done more than 60 charters since the late ‘80s. (The company changed its name from Chelsey Productions two years ago.) With ships constantly evolving, there is no end in sight, and we see no limit to the interest in these cruises.” On The Blue plans to expand with a Celtic Cruise scheduled for November featuring Celtic Thunder. “We have two or three competitors that do a good job, but we’ve really cracked the code in terms of building a profitable fanartist experience.” Contact Aaron Feterl, MSO aaron@msopr.com
March 2014 2014 January
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Piñata
Freddy Gibbs & Madlib
8
Warpaint Warpaint
6
Madlib Invazion Executive Producer: Mad Gibbs
Rough Trade Records Producer: Mark “Flood” Ellis
Piñata glides along nicely and showcases the talents of both Gibbs and Madlib. Despite plenty of guest appearances, the duo still excel in musical partnership. If this is what hip-hop looks like, it’s hard to resist the urge to join Gibbs and Madlib in their world. “Deeper” can grasp the imagination of a newcomer to the genre while one doesn’t have to live in California to appreciate the theme in “Lakers.” We become united by the lyrics, regardless of where we are from. The gap between artist and fan is shortened and after 17 tracks of getting to know this duo, they may as well be neighbors. – Carl Anthony
Warpaint smears itself fresh on the new music scene with this sophomore release. The L.A. band claims most songs were written in free flowing jams and a stint in Joshua Tree, which is evident. The album’s ethereal vastness makes for quite the desert soundscape. You want to like this album; the problem is that the material may be good...but in all the same ways. The middle tracks blend together in a sleepy, non-descript haze. Plus, nearly every song cracks the four-minute mark (a few seeping into five), which had me nodding off. – Ted Jamison
Where Shine New Lights
Morose Tales from the Left Coast
Tara Jane O’Neil
9
Kranky Records Producer: Tara Jane O’Neil
8
Sky King
O’Neil has been putting out some amazing recordings for several decades now, and her newest here is no exception. This music is hard to describe, although perhaps you could align it with indie, folk, or “post- rock.” It is by turns psychedelic, elegant and frequently ethereal, employing voice, acoustic and electric guitar, percussion and looping to produce introspective music that is spiritual without the trappings of being “new age.” Fans of Eno’s Another Green World will rejoice. O’Neil’s music conjures starlight through a pine forest. Breathe deep. – David Arnson
The Power of Three Monte Pittman
8
Blowin’ Smoke Records Producer: Larry “Fuzzy” Knight Larry “Fuzzy” Knight brings his classic rock/ blues/soul amalgam to this all-original project. Songs are laced with a tinge of melancholy, but also a lot of grit, reality, heart and good intentions. Lead vocalist/guitarist Walter Morosko is a fine wordsmith and, better than most, uses his raspy tenor to depict various aspects of the human condition. Lee Thornberg’s horn arrangements give things a vintage Tower of Power/Blood, Sweat & Tears vibe. Some grooves can be a bit similar and tedious at times, but, overall, an ambitious and refreshing take on blues-based rock. – Eric A. Harabadian
Somewhere Else Lydia Loveless
7
Metal Blade Records Producer: Flemming Rasmussen
Bloodshot Records Producer: Joe Viers and Lydia Loveless
The title of the album says it all. Although it is Pittman’s project, he fully acknowledges it is the “power” of the group effort that brings it to life. And what a group it is, with Max Whipple on bass and Kane Ritchotte on drums. Pittman initially cut his teeth as guitarist with Prong and has toured and recorded with Madonna. Here the leader returns to his metal roots armed with an arsenal of inventive and tuneful material. All the clichés of crunchy guitars, hyper tempos and assaultive rhythms are there. But for all the monster chops, there is an emphasis on sweet harmonies, succinct arrangements and strong hooks. In other words, great songs! – Eric A. Harabadian
Before SXSW unleashed “a rush of rock & roll energy” on Lydia Loveless, the singer was writing “very boring country songs” for Somewhere Else. Thank goodness for SXSW. With a rock edge, pop flair and country twang, Loveless creates a genre open to almost every audience. “Really Wanna See You Again” sounds like it was tracked in a dive bar, creating a perfect meld of bitingly honest lyrics and danceable riffs, while standout “Head” tackles a subject matter often considered taboo yet still comes across as a love song. Maybe not for country purists, but certainly something fresh. – Victoria Patneaude
Blank Project
Full Frequency
9
Neneh Cherry
Smalltown Supersound Producer: Four Tet
She was post-punk, she was trip-hop before there was trip-hop, and with her b-boy infused pop she was the M.I.A. of the ‘80s. But as catchy and sublime as Raw Like Sushi was, this ain’t no “Buffalo Stance,” more like sitting on a stool with a microphone in her hand. This one could be titled Raw Like Neneh, as she delivers poetry through melody along with the sparse accompaniment of RocketNumberNine on drums and synths filtered through the Warp-meetsjazz production of Four Tet. With Robyn on “Out of Black,” Cherry turns a masterpiece of solitude into a duet of seduction. – Daniel Siwek
Sean Paul
Atlantic Records Producer: Stargate, The Cataracs, Benny Blanco
7
Sean Paul’s sixth album could just as well be his second, third or fourth—both a good and bad thing. “Want Dem All” is pleasantly reminiscent of the “Get Busy” and “Gimme The Light” days. Add a dash of 2 Chainz and Nicki Minaj on “Entertainment 2.0” and you’ve got the stand-out club banger. We can always rely on Paul to deliver his signature reggae/dancehall style, but where Full Frequency falls short is in keeping the momentum; the tracks don’t stack up to previous hits, even with fancy production and attempts at blending genres. One for the clubs, but not particularly memorable. – Mira Abas
To be considered for review in the Album Reviews section, you must have a record deal with a major label or an independent label with an established distributor. If you do not, please see our New Music Critiques section.
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Dream Wrangler Meredith Day Introduces Teen Singer Autumn Sky Wolfe For decades Talent Scout and Developer Meredith Day has been well known for having great “Ears”. She discusses some favorite projects including her newest Teen Singer: I’ve been blessed with great projects including Animal Bag, Margo Harshman, Adrianna León and Halfway Band. My job is to hear their dreams and put them on a path to achieve it. Each project is different. I provide the tools, enabling them for success. Animal Bag came to LA to get signed at the tail end of the glam band era. Commonly selling bars out of beer with all originals in their hometown of Charlotte NC, they couldn’t get a gig in Hollywood due to “lack of image”. Their talent and music completely blew me away and I took them on. I put them up over the radar and they were signed to Steve Moir Music Management and Mercury Polygram Records. Margo Harshman dreamed of acting. I developed her, and she debuted as Shia Labeouf’s girlfriend “Tawny Dean” on Disney’s “Even Stevens”. She’s seen on “Big Bang Theory” and the upcoming “Mentryville”. She records and regularly performs her original music with Loren Frost. Adrianna (AKA Adrianne) León’s big dream was to be “on a soap”. I found her scouting David and Ann Schulz’s Star Theatre Company in Oceanside Ca. Same place I discovered Margo. I helped Adrianna place her music on “General Hospital” which led to her Emmy Nominated role of Brook Lynn Ashton and then Colleen Carlton on “The Young And The Restless” as well as her own music project “Caught Crimson”. I heard “Halfway Band” AKA “Halfway Decent” music in a gas station in Orange County. They were already making great money playing biker bars and “kegger parties”. After development the band won 4th place over 400 bands in KROQ’s 2012 CaboWabo Band Competition with their great original song “The Bird”. Currently they are getting ready for their 3rd summer DIY tour. Their video “Abstract Art” won Best YouTube.com 3D Video in 2012. They are currently interviewing sponsors for their 2014 tour. Teen singer Autumn Sky Wolfe has been my most amazing find to date. I overheard her singing in a hallway, a raw voice with tons of wonderful potential. I took her on. I felt she could be a significant performer. She reminded me of myself at her age. Big dreams. Autumn has a silver bullet that is very rare in live performers. She has ABSOLUTELY NO STAGE FRIGHT. I have seen her perform shows when everything was crashing around her and she doesn’t miss a beat. Amazing. Autumn has released her first DIY single and EP titled “Fire And Ice”, currently available on iTunes etc… romantic POP Ballads. The cd includes a wonderful duet with Lenny Kravitz’s drummer Franklin Vanderbilt, “Complicated Eyes”. I feel Autumn should be a real inspiration to any kid with a big dream! We are shopping for more original music for Autumn. For Info. contact Meredith Day through www.NationalTalentDevelopment.com or email: management.NTD@gmail.com. (ADVERTISEMENT) March 2014
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Production Lyrics Music Vocals Musicianship
Production Lyrics Music Vocals Musicianship
Production Lyrics Music Vocals Musicianship
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9 8 7 9 8
8 8 8 8 8
Lindsey Webster
Teach Her Treason
Contact: lindseywebster.music@gmail.com Web: lindseywebstermusic.com Seeking: Label, Publishing, Booking Style: R&B/Soul/Jazz
Contact: hotmale9983@hotmail.com Web: facebook.com/teachhertreason Seeking: Management, Film/TV Style: Metal, Rock
A sexy, engaging vocalist with meaningful messages, Webster and her backups exude a super-warm, candlelit aura that makes a song like "Free" honey to the ears. The singer is an expert communicator, and the sultry sax solo leaves the listener with a relaxed, floating sensation. Webster's versatile voice fares even better on "I Do," a song with lyrics that feel more R&B than jazz. With just a piano accompaniment, the philosophical "Choices" is the true test of her abilities and she excels in all areas. This project, recorded and arranged to near perfection, deserves serious attention.
A catchy progression takes hold on "I Need More" and does not quit, delivered by a band that is extremely in sync with one another, especially the drummer, whose power and precision impresses. While the lead singer at first struck us as a parody of Lemmy/Rob Zombie, he soon settled into his groove and sounded just right. In fact, his full-tilt tenacity puts him in a league of his own. This is especially true on "Unkind" where he sustains some arcing notes that are truly distinctive. While the band's material could be even stronger, there's plenty of firepower here to make an impact in the metal arena.
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Von Grey
20 Twen
Contact: judikerr@aol.com Web: http://vongreymusic.com Seeking: Label, Publishing, Booking, Film/TV Style: Indie/Alt/Folk
Contact: nick@susanblondinc.com Web: nofeelingsmusic.com Seeking: Gigs, Mgmt, Booking, Film/TV, Distr. Style: Hip-Hop
If the Dixie Chicks got serious, moved to Seattle and recorded an EP it would sound like this quartet of sisters, who generate affecting vocal harmonies and a vibrant, stylistic hybrid that could prove a winner. "Come On" is a case in point: acoustic country/folk on the surface, the song's underlying bedrock is purely modern alt/rock. Pristinely recorded, the girls are given lots of aural space to deliver their high-minded messages. By paying more attention to creating sharper hooks, this crafty, appealing, female foursome could make a national impact.
A subtle yet effective beat, both laid-back and jazzy, guides "Rollin" by this Detroit rapper, whose accompanying flow is anything but laid-back. Intense, clever wordplay is his stock-in-trade delivered with the kind of command you hear in the best emcees. The eerie "Voices" emits a surreal, synthadelic aura with lyrics full of foreboding imagery. Horror-fueled "Val Venis" adds interest with percussive timpani and vocal stings. Though 20's beats are often cool, hooky and inventive, we feel that a savvy producer could make them appealing to a wider audience.
Production Lyrics Music Vocals Musicianship
7 8 8 9 8
Classick
Sarah Dooley
Contact: jb0581@gmail.com Web: artistecard.com/classickjb Seeking: Solid Fan Base Style: Hip-Hop/Rap/Soul
Contact: wendy@hellowendy.com Web: sarahdooleymusic.com Seeking: Label, Booking, Film/TV, Distr. Style: Singer/Songwriter, Folk
A Top 40 rap with a clubby, synthheavy hook propels "Fallback" whose sudden pace change in the rapper's flow is a perfect way to spice up a verse. The hook is a bit redundant, yes, but it's just what hit radio likes. An early '90s hip-hop vibe comes from the tender, bittersweet "Crush On You" where vocal overlaps and neo-classical piano are nice touches. Our favorite is the concept song "Rewind Button" on which the clever track repeats/rewinds as the OG rapper, just 26, gets nostalgic for the way things used to be. Sure, the kiddies will ask "What's rewind?" but the song is a winner.
Bright, humorous, clever and not a little bit theatrical, Dooley's music is consistently melodic and playful, a fluffy, tangy merinque for the ears. "Peonies" showcases a voice that has character and humanity, and it proves to be an engaging combination. On "Gym Looks Nice" the artist delivers her vivid, descriptive lyrics accompanied by a string arrangement that results in a form of chamber pop which, instead of being dark and gloomy, is uncharacteristically light and ultimately inspiring. Dooley can deliver a barrel of "poor me" lyrics in a way that is endearing.
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Music Connectionâ&#x20AC;&#x2122;s executive committee rates recorded music on a scale of 1 to 10. Number 1 represents the lowest possible score, 10 represents the highest possible score. A final score of 6 denotes a solid, competent artist. For more information, see Submission Guidelines on next the page. 50 March 2014
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MARY TAYLOR FOR UNDERHAUS PRODUCTIONS
Production Lyrics Music Vocals Musicianship
Production Lyrics Music Vocals Musicianship
Production Lyrics Music Vocals Musicianship
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Dynasty Electric
Rod Melancon
Contact: amanda@lafamos.com Web: dynastyelectric.net Seeking: Film/TV, Booking Style: Indie/Electronic
Contact: melissadragich@gmail.com Web: medinariverrecords.com Seeking: Film/TV Style: Singer-Songwriter/Americana
NY dance-beat duo Dynasty Electric have a runway-ready formula that works well in its genre. Songs like "Supersonic" and "Rockit Ship" provide dark, sexy, EDM undercurrents that are stabilized by a sturdy pop-rock song framework. Jenny Electrik's vocals deliver the right vibe while Seth Misterka's production drops interesting chord progressions and inventive synth touches that skitter and soar. The lengthy "Euphoria" takes a while to arrive but rewards patience with a satisfying sonic explosion. The band has already had placements and should continue to tap that area.
This Louisiana native infuses local color into his moody lyrics, giving his songs a strong sense of place. That's true of "Duck Festival Queen" a lurid love-and-murder tune that drips with blood and reverb. We wish the recording provided more power and electricity. The dirty blues rocker "Marella" channels the ghost of Link Wray in its nasty guitar tone and overall profile, a perfect fit for a Tarantino soundtrack. "Curve Lounge" has nice slide/steel tone and once again shows the artist's lyric touch. Melancon has absorbed from the best and must continue to forge a distinctive style of his own.
Production Lyrics Music Vocals Musicianship
7 8 7 7 8
Chamber of Echoes
Foreign Press
Contact: tom.fixt@gmail.com Web: soundcloud.com/chamberofechoes Seeking: Label, Mgmt Style: Industrial Pop/Rocktronica/Visual
Contact: jen@truetalentpr.com Web: foreignpress.bandcamp.com Seeking: Booking, Label, Distribution Style: Rock
Klaryssa Korolenkov fronts this elaborate project, which is lavishly invested in its visual representation. Musically, CoE delivers goth-infused, female-fronted dance-rock with an electronic sheen. "We Belong to The Night" best exemplifies what the band can doâ&#x20AC;&#x201D;its throbbing 4/4 beat forms a launchpad for the band to generate a Euro-flavored, electrorock whirlwind for Korolenkov's sensual vocals. Lyrics are the band's weakness, but things could perhaps be lifted by the addition of a guest male vocalist, a move that boosted Evanescence to superstardom some years ago.
Juanita Mankuleiyo fronts this quartet with the sultry, breathy "You Get What You Pay For." Though this raw, mid-tempo rocker is full of brittle guitar and woozy harmonica, the song fails to really ignite like it could. "A Sad One" does not have that problem; it's a more forceful song and the lead vocal is up to the task as a warm B3 and vocal backups lend support. Still, we want her to really belt it out and, instead, she holds back. All in all, this Alabama Shakes-like act could be so much more with a producer who'd push the band harder. As it is, the bassist is the one who actually shines.
Production Lyrics Music Vocals Musicianship
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Dana Salzman
Ross Cooper
Contact: nikatballinpr@gmail.com Web: reverbnation.com/danasalzman Seeking: Label, Distribution Style: Soul, Jazz, Hip-Hop
Contact: ross@ross-cooper.com Web: ross-cooper.com Seeking: Booking, Label Style: Singer/Songwriter
Though she tends to work her beats to exhaustion, Salzman's attempt at good-feeling groove music is kinda successful, especially if you like your groove with a vintage '90s mixtape sheen. "Lay You Down" is her stockin-tradeâ&#x20AC;&#x201D;a playful, sexy come-on delivered with a healthy dose of funkiness. "YIN" adds some Asian mystery to Salzman's sensuous sloganeering, while "Spin My World," featuring co-vocalist Kirby Dominant, is perhaps the most interesting of the lot, an unusually smooth melding of influences, including world music. Unevenly recorded, these demos could use a producer's touch.
This Lubbock, TX native's "Give It Time" is an amiable troudabour tune voiced ably if not remarkably by a world-weary man who has learned to live with heartache. Such a formulaic number, where bittersweet music tugs at the heart-strings while optimistic lyrics offer hope, did not prepare us for "Running Away" on which Cooper conjures a noirish mystery/detective aura thanks mainly to the presence of a vintage speakeasy-vibe trumpet. This tune, with its loping pace and '50s guitar tone, suggests Cooper's future success could lie in a more theatrical brand of songwriting.
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7 7 8 7 8
SUBMISSION GUIDELINES: There is absolutely no charge for a New Music Critique. We critique recordings that have yet to connect with a label or distributor. To be considered please go to http://musicconnection.com/get-reviewed. All submissions are randomly selected and reviewed by committee. March 2014
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The Slidebar Fullerton, CA Contact: red9band@yahoo.com Web: http://red9band.com The Players: Paul Frislie, guitar; Jeff Lyons, bass, vocals; Giovanni Fuentes, drums. Material: Red9 has brought back powerful ‘90s hard rock with its grizzly and crunchy guitar riffs, melodic yet growling vocals, and solid, echoing beats. While only a three-piece, the band creates a full hard-hitting sound similar to Rage Against the Machine and Nine Inch Nails, with a little Offspring influence. “Dead Hands” packs a heavy punch with its grungy riff, while “Underdose” is quicker, harder and backed by a complex tom-tom beat. “Ignoramus” is the band’s most successfully composed song driven by a simple yet tasteful bass lick, with a tone similar to Justin Chancellor’s of Tool. This song could bring the band a lot of attention as it catches on quick and caters to a large spectrum of rock and roll, not just hard rock. Some songs like “Dead Hands” could use a slight cleanup of tone so the notes don’t get lost in the distortion. Jeff Lyons could also increase the bass volume to create more tonal balance in the songs—making them less guitar heavy. Musicianship: Lyons clearly has a mastery of his bass and showcases his raspy yells during the choruses, especially in “Ignoramus.” Drummer Giovanni Fuentes, however, slightly rushes the beat and doesn’t completely gel with Lyons in that song. Fuentes could vary his drum fills to avoid repetition as well. Frislie holds the rhythm guitar parts down and effortlessly solos, showcasing a lot of wah-wah and vibrato. The band’s sound, in “Dead Hands,” for example,
RED9
would benefit from cleaner guitar tones to contribute a melodic element to the material.
Performance: Red9 knocked out a killer set of original songs with two covers mixed in, “Unsung” by Helmet and a finale of “Killing in the Name” by Rage Against the Machine— The band had the entire crowd chanting “Fuck you I won’t do what ya tell me!” Lyons developed a relationship with the audience early on, but there was no unnecessary dilly-dally in between. Red9 came to rock and they did just that. Lyons’ vocals, however, began to diminish as the show progressed. He strained to hit the higher notes and his growl became less assertive, especially in “Dead Hands.” By “Killing in the Name” his vocals were practically shot. Frislie’s guitar playing, while tasteful and
grungy, overpowered the bass and drums the entire show. Red9 also seemed to have an unfortunate mix because the instruments were muddled and washed-out, leaving the technical sections like Lyons’ bass solo in “Hurts Like Home” nearly unidentifiable. Nonetheless, the crowd responded positively by head-banging to the powerful jams. Summary: Red9 has created a unique sound reminiscent of ‘90s hard rock and the players are technically proficient on their instruments. “Ignoramus” could bring the band a surge of attention, so it should aspire to write songs of that stature. With more live performance conditioning, the studio-to-live transition wouldn’t be so drastic, and that would please fans. – Vincent Stevens
T.T. the Bear’s Cambridge, MA
Material: Sassy fireball Jessica Prouty fronts this eponymous hard rock foursome that plunders blues and metal for inspiration. Prouty’s singing recalls the emotional bombast of Janis Joplin, but it’s the group’s amped compositions that pack the ultimate punch. Hard driving drums and tub-thumping bass give way to flashes of guitar that hint at lively possibilities. Musicianship: Cam Pelkey’s pulse-pounding drums define Jessica Prouty Band’s sound; without them, they would be just another blues-focused rock band. As is, their sound is decidedly heavy but never morphs into hardcore mush—every note remains distinctive while blending with the whole. Commendably, Prouty’s tenacious vocals hardly ever get lost. Every moment is properly rehearsed and crafted for maximum impact. Performance: Their set unfolded gradually as, one by one, the performers took the stage, culminating in the appearance of Prouty and her power vocals. She owned the audience with heartfelt emoting and between-song banter, affably prefacing songs, introducing the 52 March 2014
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JESSICA PROUTY BAND
players and promoting their wares. One song featured singing from former member Aaron Shuman, although the evening’s highlight was a version of Led Zeppelin’s “Rock And Roll” that toughened up the original. The relationship-focused “Calm Before the Storm” also deserves an honorable mention. Summary: A bright future lies ahead for this local favorite. Formed in 2007, the formerly teen band has matured (three-quarters of the group will soon be Berklee graduates), yet they have some blacktop to travel before
achieving total rock & roll bliss. For one, they could expand their repertoire, including a ballad, perhaps, or a maybe a straight-up dance number. More critically, their songs never fully blossom, an admittedly difficult task considering their 45-minute opening slot. And their sound, which rests somewhere between groovy and straight-up hardcore, leaves listeners unsure whether to mosh or boogie, yet one suspects they’ll continue drilling down to their artistic core and soon unearth a gem of epic proportions. – Andy Kaufmann
APPLE KAUFMANN
Contact: kp@jessicaprouty.com Web: http://jessicaprouty.com The Players: Jessica Prouty, lead vocals, bass; Stephen Baker, rhythm guitar, backup vocals; Cam Pelkey, drums; Seth Rosenbloom, lead guitar.
and Slauson,” Hussle continues to push it to the limit one verse at a time. He’s as smooth as Snoop Dogg and as gangsta as Mitchy Slick. An originator to say the least, he has been crowned the King of the New West.
NIPSEY HUSSLE
The Observatory Santa Ana, CA
Contact: John Pantle, 310-888-4258 Web: http://ihussle.com, http://slausonave.com The Players: Nipsey Hussle, emcee. Material: Raw, unapologetic, and genuine describes this South Central Los Angeles
Rockwood Hall
DANIEL SEYUM
Musicianship: This performer has a definitive voice that separates him from his peers. What grabs the listener is his lyrical prowess and the way he paints vivid visuals. Like Jesse Owens pacing himself in an Olympic marathon, Nipsey Hussle exudes confidence and dexterity, epitomizing the daily grind of pursuing better days. There is a cinematic fascination about the way he composes that adds something unique in the hip-hop world.
emcee. Nipsey delivers reality rap music coupled with enlightening messages that give listeners a panoramic view of his past, present and future. He represents the underdog who decided to take control of his own destiny and independently run a marathon to create global opportunities for himself and his team. With songs like “Face the World” and “Crenshaw
Performance: Nipsey Hussle has transcended from a mere emcee to a full-fledged entertainer—someone that young emcees can learn from. Crowd participation is a natural part of his repertoire, giving the audience the chance to yell and scream requests for what song he should perform next. Hussle performed with a clear and cool assurance. Though marijuana smoke filled the sold-out venue, he still provided a bold, energetic show that resulted in an indelible experience. Summary: Able to hold an entire crowd in the palm of his hand, Nipsey Hussle is an artist who delivers necessary, unabridged music from an OG’s perspective. Like the Converse on his feet, he is an All-Star at the top of his game. – Adam Seyum
New York, NY
Material: Their name suggests somewhat violent imagery. The reality of Blow Up Hollywood is more of an artistic vigilantism dating back to the band’s formation in 2001 when they were driven by a rejection of standard pop fare, effectively thumbing their noses at the music business while going through a bout of personal difficulty. Flooded in an atmosphere of moody ambient acoustic pop, the songs unfold organically moving through various shades of dark and light, coupled with messages of perseverance and surrender. Thus is best illustrated in “Waiting For My Ship,” a song with a driving momentum in 6/8 time. Hit songs with big hooks (certainly in the way radio defines them) is not what this group are about, but ironically “Shine” is musically and lyrically the most memorable with a big sing-along chorus, much closer to the mold they have characteristically veered away from.
twangs to bring that aura of dreamscape, while Jones on piano provides a delicate but firm foundation. Nadia Ackerman joins in harmonies to give more texture and tension to the vocals.
Musicianship: Messina’s bassy, velvety rich voice draws you in while never feeling over the top. He surrounds himself with tasty players who lend full support by introducing elements that enhance and complement Messina’s musical statement. Debrock on electric guitar and pedal steel strikes just the right licks and
Performance: The band has a strong following, most likely populated with fans who have gotten on board somewhere along the group’s seven album ride. The intimate room was quiet enough to hear a pin drop, the best environment in which to experience the band’s instrumental nuances. Messina
MARK SHIWOLLICH
Contact: info@blowuphollywood.com Web: http://blowuphollywood.com The Players: Steve Messina, lead vocals, guitar; Thad Debrock, electric guitar, pedal steel; Harvey Jones, piano, keyboards; Nadia Ackerman, backup vocals.
BLOW UP HOLLYWOOD had a laid-back, almost retiring persona, with a decent amount of appeal, but there was a longing to pry it open and learn more about him. A great moment in the show was his rendition of “Over the Rainbow,” as it was both unexpected and totally satisfying. Summary: Blow Up Hollywood display musical maturity and depth while Steve Messina gives a committed performance. It would be a plus to see him engage more with the audience. – Ellen Woloshin
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Vitello’s Jazz Club Studio City, CA
Material: In the current world of electronicdriven pop music––a world that allows or even encourages artists to explore how much can be done with as few real people as possible––Scott Healy reminds us just how good live instruments can sound in a room with highly skilled crafts-men utilizing centuries-old technology. Not only is it hard to find a 10-13piece band playing anywhere outside of a bigbudget wedding or a music school, it’s even more rare to find and hear this combination of instruments playing music that is fresh, new and innovative. Healy manages to compose “jazz orchestra” music that moves forward. Two particular pieces that demonstrate his ingenuity are “#1” which toys with the concept of “free jazz” within a structured piece and impresses with its ability to take the listener in and out of order and chaos, all meticulously planned out and orchestrated. Another piece, one which was nominated for Grammy this year, “Koko On The Boulevard” resonates more with the groove-lover, as it takes one theme through a journey, sticking to a somewhat more
SCOTT HEALY
identifiable form and structure, but does not disappoint with the variations on the theme. As a great composition does, the music keeps the listener rooted in an idea, while constantly exploring new perspectives.
Musicianship: This caliber of musician is rare—especially in a small club. The years of study and talent required to perform this music usually means these players are paid well, or at least something, for their ability. As all professional musicians know, however, it doesn’t take an economics professor to grasp that a small club gig isn’t going to generate the big bucks when divided among 10 players, sound techs, the house, etc. Some pros are motivated by the art itself, however, and it’s not a stretch to imagine this is the scenario with Healy’s band.
TIM REID JR.
Contact: Jeff Sanderson, jeff@chasenpr.com, 310-274-4400 Web: http://bluedogmusic.com The Players: Scott Healy, piano; Bill Wysaske, drums; Edwin Livingston, bass; Andrew Lippman, trombone; George Thatcher, bass trombone; Andrew Lippman, trombone; Brian Swartz, trumpet; Bill Churchville, trumpet; Tim McKay, bari/tenor/soprano saxes, bass clarinet; Alex Budman, tenor/soprano saxes, flutes, clarinet; Jeff Driscoll, alto/soprano saxes, flute.
Performance: A jazz supper club has the potential to be “stuffy” if that is the mood set by the performers. This was the complete opposite––we were all just in this 90-minute journey together. The players were all dressed casually, as if a bunch of friends just getting together to nonchalantly blow the minds of everyone in the house. Healy himself proved to be genuine and accessible in his moments of spoken communication with the audience. His personality went a long way toward attracting the listener to his music. Summary: Scott Healy is a professional with a real resume and a real “career,” for lack of a better term. That aside, he is a creative and original voice in a world that is largely hidden to the masses, and is more magical than most would ever imagine. – Tim Reid, Jr.
The High Watt Nashville, TN
Material: Quartet from Ohio Saintseneca are far too individualistically stylized for the incomplete label of “folk revivalists,” which the band is moving away from with their latest album, Uppercutter. Rather, they’re folk artists, the operative word being “art,” with beautifully crafted melodies, vocal harmonies, the twisting, tragic knife of frontman Zac Little’s voice and a range of emotive strumming and plucking. Musicianship: Small innovations and tweaks to their live performance have made a significant impact on their sound. They mic their instruments, which makes for greater clarity on stage and none of the usual muffled delivery. A sole kick drum, flipped skin side up, is the drummer’s primary target. The vocal harmonies are beautiful, but there’s something jarring, tactile, sometimes pain inflicting and other times deeply comforting in the vocals of Little, who is as poignant when he takes the stage alone as the band is dynamic as a group. Performance: I swear, Little was hiding something beneath his regal and monstrous orange mustache, from under which he emitted 54 March 2014
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SAINTSENECA
powerful vocals that captivated a decent crowd who respectfully sat and watched. Geographic isolation experienced while growing up in an Appalachian Ohio is repeatedly named in interviews as an integral part of the Saintseneca influence. It is apparent both lyrically and in terms of instrumental aesthetic. Delivery at this show was delicate, but the messages were heavy. One of the peaks of the evening was “Acid Rain,” during which Little’s nasal, over-pronounced vocals coupled with his bandmates’ to sing, “I hope you’re wrong/I feel connected/to something strange
JESSICA PACE
Contact: Hilary Okun, hilary@epitaph.com Web: http://saintseneca.com The Players: Zac Little, vocals, multiinstrumentalist; Maryn Jones, vocals, keys; Steve Ciolek, vocals, guitar; Jon Maedor; vocals, multi-instrumentalist.
and strong.” Or Little’s beautifully dejected lone performance of “Beasts” and his proclamation, “You could praise till your heart bends/and still not quite get it/Just some means to a dead end/Just some means as an average.” Summary: Crisp, exquisitely spun melodies. Textured but not heavy-handed strings. Fullbodied acoustic guitar. All of these join with resonating percussive stomps that punctuate pristine vocal harmonies and reinforce what is becoming my new favorite set of lead vocals in contemporary folk. – Jessica Pace
guitar attack of Greg Patnode (who also wrote “Desert Shines”) and Thiago Straioto show the kind of balance expected from Judas Priest’s K.K Downing and Glen Tipton, if not with harmonized solos, then definitely with their distinct styles, but on this night, weren’t without some sour notes. Also impressive is the way they pull out the acoustic guitar for more textures and layers on “Save My World.” Lead singer Ross Petrarca has some quality pipes, but doesn’t have command over his range. Several times he went more out of tune than the guitars. Nevertheless, when he is on, his voice is both strong and mysterious.
DESERT DRAGON The Canyon Club Agoura Hills, CA Contact: dougdeutschpr@gmail.com Web: http://desertdragon.info The Players: Greg Patnode, guitar; Thiago Straioto, guitar; Daniele De Cario, bass, keys; Nick Mason, drums; Ross Petrarca, vocals, Rick Brandt, bass. Material: Sometimes sludgy, sometimes epic, but always pretty dark, Desert Dragon play a blend of psychedelic/bluesy hard rock. Their debut EP Desolation was produced by the legendary Ron Nevison and its lead song, “Desert
Shines,” has appeared at No. 39 on Billboard’s “Indicator Highlights” chart. Nevertheless, while there are some powerful moments in this music, on the whole the band’s repertoire is ultimately anticlimactic, not dynamic enough. Desert Dragon can often hook you in, but mostly leave you dangling on the line. Musicianship: The rhythm section is tight, as Mason is a drummer who’s capable of some dazzling fills, and it’s clear he leads from the rear. Double-duty De Cario plays deep, sludgy grooves on the bass and atmospheric synthesizers, one of the highlights of the set. The twin
Performance: If the rest of the band weren’t busy rocking out, you’d mistake frontman Petrarca for the roadie setting up the mic stand. Worse than that, it doesn’t even seem like he’s trying. He’s humble, but humble doesn’t make a rock star. Energy and purpose are lacking. Summary: Asked what he thought of Desert Dragon, an audience member responded, “Every time they bring you up, they just bring you back down. They don’t take you higher.” This is constructive criticism that means, dynamically, this band need to tighten up their act, and frontman Petrarca needs to take command of the stage. Apparently, getting a shot at opening up for the legendary BOC was not ample enough motivation for Desert Dragon. But if they want to take their music higher, they should make the sections pop more, and play them like it could be the last gig of their lives. – Daniel Siwek
Thousands of artists have been reviewed by Music Connection. To read the reviews and get your music reviewed, go to http://musicconnection.com/get-reviewed. Music Connection does not charge a fee for reviews. March 2014
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Annual Directory of
Managers and Booking Agents Updated for 2014, Music Connection’s exclusive, national list of professionals will help connect you to those who can handle your career interests and arrange live bookings for you. (For MC’s list of Music Attorneys, please visit http://musicconnection.com/industry-contacts.)
MANAGERS
4 STAR ENTERTAINMENT New York, NY E-mail: toddfrank@nyc.rr.com Web: www.4starent.com Contact: Todd Frank
Styles: Pop, Rock, Oldies Clients: Mo’Nique, Cedric The Entertainer, Isaiah Washington, Yolanda Adams, the Trammps, Mary Mary *No unsolicited material 5B ARTIST MANAGEMENT 67 West St. #608 New York, NY 11222 212-445-3500 E-mail: info@5bam.com Web: 5bam.com Styles: Metal, Rock, Alt. *No unsolicited material Additional location: 1605 Pacific Ave. Venice, CA 90291 310-450-7132 AAM 7 W. 22nd St., 4th Fl. New York, NY 10010 212-924-2929 E-mail: matthew@aaminc.com Web: www.aaminc.com Contact: Matthew Clayman Styles: Alt., Rock, Pop, Indie Clients: Call for roster *No unsolicited material, represents producers only Additional locations:
Sophie Hutchings, Beautiful Small Machines *Accepts unsolicited material, call or email first AL BUNETTA MANAGEMENT 33 Music Sq. W, Ste. 102-B Nashville, TN 37203 800-521-2112, 615-742-1250 E-mail: jon@ohboy.com Web: www.ohboy.com Styles: folk, bluegrass Clients: John Prine, Kris Kristofferson *No unsolicited material ALLURE MEDIA ENTERTAINMENT 34 E. Germantown Pike, Ste. 112 Norristown, PA 19401 215-601-1499 Web: http://allureartists.com/contactallure.html Styles: rock, alt. rock, pop, adult rock, R&B, hip-hop Clients: Sleeper Cell, Maddam Ink, Slik Helvetika, XDao, DJ Miguel, Kara Reynolds, Tim Laigaie, Stealing Love Jones, Thoroughfare, Gallucio, The Wonder Years, Greg Howe, Uncle Plum, Darryl Ray Band, Flux Capacitor, Coolooloosh, Tom Taylor, Brian Severn & Those Victorious *Accepts unsolicited material, please follow submission guidelines on web AMERICAN ARTISTS ENTERTAINMENT GROUP Stuart, Fl 772-569-1040 E-mail: online@aaeg.com Web: www.aaeg.com Styles: pop, rock, R&B, country, s/s Clients: Jenny Galiardi, Mike Guerriero, Lyrical Eye, Baha Men, Frank Stallone, Jenny Galiardi *Accepts unsolicited material, but not seeking new clients Additional locations:
5979 W 3rd St., Ste. 204 Los Angeles, CA 90036
Hal Kaye Artist Representative 646-719-9874 New York, NY 10021
1600 17th Ave., S. Nashville, TN 37212 ABBA-TUDE ENTERTAINMENT 311 N. Robertson Ave., Ste. 505 Beverly Hills, CA 90211 818-991-7399 E-mail: kingabba@aol.com Contact: Mark “Abba” Abbattista Styles: All Services: Personal management, legal *Accepts unsolicited material A.C. ENTERTAINMENT P.O. Box 285 Shady, NY 12409 845-679-7070 E-mail: brains@ix.netcom.com Web: www.badbrains.com Contact: Anthony Countey Styles: Punk, hip-hop, alt., rock Clients: Bad Brains, Dufus, “Dr. Know” aka Gary Miller, Darryl Jenifer (producer), Blakvova *Accepts unsolicited material, but not seeking new clients AFRICAN MUSIC SOURCE 2519 Nason Ave. El Cerrito, CA 94530 510-778-1885 E-mail: kaokulolo@aol.com Web: www.africanmusicsource.com Contact: Baba Ken Okulolo Styles: African Clients: Baba Ken & Kotoja, Baba Ken & AfroGroove Connection, West African Highlife Band, Baba Ken Okulolo & the Nigerian Brothers *Accepts unsolicited material AIC ENTERTAINMENT 321 High School Rd. N.E. Ste. D3, PMB 210 Bainbridge Island, WA 98110 206-781-3956 Fax 206-781-3957 E-mail: info@aicentertainment.com Contact: Amanda Case Styles: S/S, folk, pop, rock, americana, jazz, world Clients: Ian Moore, Two Loons For Tea, Spottiswoode & His Enemies, Modeste, Joel Dilley, Bett Butler, Swati, Bronwen Exter, Don DiLego, David Berkeley, Jamie Hutchings,
Dick Kline Artists Representative Jeff Subaru Assoc. 323-325-8275 Hollywood, CA 90068 ANGELICA ARTS & ENTERTAINMENT Nashville, TN 615-794-0485 Fax 615-591-1463 E-mail: mgmt@angelica.org Web: www.angelica.org Contact: Jules Delgado Styles: ambient, lounge, new age, pop, world, Film/TV Clients: Seay, Pat Thomi *No unsolicited material ARSLANIAN & ASSOCIATES 6671 Sunset Blvd., Ste. 1502 Hollywood, CA 90028 323-465-0533 Fax 323-465-9240 E-mail: oscar@discoverhollywood.com Contact: Oscar Arslanian Clients: Fabian, Chris Montez, Little Peggy March, Kathy Young, Johnny Tillotson, Merrilee Rush, Brian Hyland Styles: Classic Rock Services: personal management *No unsolicited material ARTIST IN MIND 14100 Dickens St., Ste. 1 Sherman Oaks, CA 91423-4236 818-906-8020 Fax 818-924-1000 E-mail: info@artistinmind.com Contact: Doug Buttleman Clients: Remy Zero, Sanders Bohlke, Jeffrey Cain, the Verve Pipe, Brian Vander Ark Styles: rock, modern rock, pop, adult *No unsolicited material ARTIST MANAGEMENT GROUP 207 Crabapple Dr. Baytown, TX 77520 713-263-7115 E-mail: recagle@montroserecords.net Web: www.amgtexas.com Contact: Richard Cagle Styles: rock, blues, country, pop Clients: Carolyn Wonderland, Crash Comfort,
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Grey Eyed Athena, Simpleton *Accepts unsolicited material ASQUARED MANAGEMENT 800 18th Ave. S., Ste. C Nashville, TN 37203 615-864-8043 E-mail: awareinfo@awaremusic.com Web: www.asquaredmgmt.com Styles: S/S, acoustic, folk, rock Clients: Mat Kearney, Cary Brothers, Emily Hearn, Five For Fighting, Jason Lehning, Mayday Parade *No unsolicited material ASTI ARTIST MANAGEMENT, LLC 212-529-6400 E-mail: info@astientertainment.com Contact: Kristi Clifford Styles: rap, hip-hop, pop, rock Clients: Kid Capri, Styles P, Camp Lo, Peter Rose, Republic of Loose, Technician the DJ, DJ K2 (aka Kellen Winslow, Jr.) *No unsolicited material AZOFF MUSIC MANAGEMENT 1100 Glendon Ave., Ste. 2000 Los Angeles, CA 90024 310-209-3100 Styles: All *No unsolicited material ELLEN AZORIN, MANAGER, PEDRO GIRAUDO JAZZ ORCHESTRA 157 W. 79th St., Ste. 4A New York, NY 10024 212-724-2400 E-mail: ellenazorin@gmail.com Web: www.pedrogiraudo.com Styles: Jazz Client: Pedro Giraudo Jazz Orchestra *Accepts unsolicited material BACKSTAGE ENTERTAINMENT 5018 Franklin Pike Nashville, TN 37220 310-325-9997 E-mail: staff@backstageentertainment.net Web: www.backstageentertainment.net Contact: Paul Loggins, John Stevens, Laurent Stoeckli Styles: All Services: full-service radio promotion, publicity & PR, radio programming/consulting, personal management, entertainment consulting/ marketing *Accepts unsolicited material BANDGURU MANAGEMENT P.O. Box 11192 Denver, CO 80211 303-477-6987 Fax 303-561-1496 Web: www.bandguru.com E-mail: mark@bandguru.com Contact: Mark Bliesener Styles: All Styles Clients: The Third Degree, Baxter Black, Ronny Cox, Highway 101, Nitty Gritty Dirt Band *No unsolicited material BBA MANAGEMENT & BOOKING 12400 Hwy. 71 W., Ste. 350-177 Austin, TX 78738 512-477-7777 E-mail: info@bbabooking.com Web: www.bbabooking.com Contact: Laura Mordecai Styles: rock, jazz Clients: Matt Wilson, Beto and the Fairlanes, Javier Chapparo Services: specializes in placing musicians for recording sessions & back up for touring acts, must read sheet music *No unsolicited material BEAR CREEK PRODUCER MANAGEMENT 6313 Maltby Rd. Woodinville, WA 98072 425-481-4100 Fax 425-486-2718 E-mail: mannyhadlock@hotmail.com Web: www.bearcreekstudio.com Contact: Manny Hadlock Styles: intelligent rock, indie rock, rock nervous, folk, renaissance, rock, jazz Clients: Gordon Raphael, Ryan Hadlock, Holy Ghost Revival, Sony Records, Sub Pop, Vertigo, Warner, Transgressive *No unsolicited material BEDLAM MUSIC MANAGEMENT 550 Queen St. E. Ste. 310
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Toronto, ON M5A 1V2 416-585-7885 Fax 905-248-3195 E-mail: info@bedlammusicmgt.com Web: www.bedlammusicmgt.com Clients: Alexisonfire, City and Colour, Doldlrums, Moneen, Monster Truck, The Sheepdogs BIG HASSLE MANAGEMENT 244 E. Durham St. Philadelphia, PA 19119 917-670-6023 Cell 215-248-2064 E-mail: maska@bighassle.com Contact: Michael Maska Styles: alt., indie, rock, pop Clients: Sabina of Brazilian Girls, Mutlu, Viv & Revival, Andrien Reju, Mary Lee Kortes *Accepts unsolicited material BIG NOISE 11 S Angell St., Ste. 336 Providence, RI 02906 401-274-4770 E-mail: algomes@bignoisenow.com Web: www.bignoisenow.com Contact: Al Gomes Styles: pop, rock, R&B, metal, jazz, acoustic, blues, punk, techno Clients: Christina Aguilera, Katharine McPhee, Alice Cooper, Little Anthony & the Imperials, Jay Geils, Jim Brickman, Melba Moore *Accepts unsolicited material - please call or e-mail first. BITCHIN ENTERTAINMENT 1750 Collard Valley Rd. Cedartown, GA 30125 678-901-0162 E-mail: ty@bitchinentertainment.com Web: www.bitchinentertainment.com Styles: rock, pop, hip-hop, Americana, country, R&B, jazz, punk, metal, rap, folk, s/s Clients: Karma, State Of Man, Blasternaut, Niki Barr, Baby Strange, Matt O’Ree, One Day Left, Josh Roy Brown, Donal Hinely, SUN, Gentry Morris, Lost Tricks, Jon Robert, Lost Tricks *Accepts unsolicited material BLACK DOT MANAGEMENT 6820 La Tijera Blvd., Ste. 117 Los Angeles, CA 90045 310-568-9091 Fax 323-777-8169 E-mail: info@blkdot.com Web: www.blkdot.com Contact: Raymond A. Shields, Pat Shields Clients: producers, engineers, marketing, production Styles: R&B, jazz, urban adult contemporary Services: personal management, marketing *No unsolicited material BLACK ROSE 409 Rte. 112 Port Jefferson Station, NY 11776 631-509-0449 E-mail: admin@blackroseproductions.com Web: www.blackrosemusicpub.com Styles: jazz, rock, R&B, gospel, hip-hop, country, blues, pop Clients: Conan Horn Section, Black Rose Band, Organic Sound Project, Chris Patti of Modern Voices, IndiMusicTV, John Pandalfo, Roger Evans, Tito Batista featured on vocals with Conan Horn Section and Black Rose Band *No unsolicited material Additional location: 15 Gloria Ln. Fairfield, NJ 07004 631-367-8544, 973-575-7460 BLAST! MANAGEMENT Los Angeles, CA 323-857-7299 E-mail: blastmusic1@yahoo.com Styles: record producers, mixers, songwriters, Film/TV composers BLISS ARTIST MANAGEMENT P.O. Box 5011 Laurel, MD 20726 888-608-5936 E-mail: bliss51@onebox.com Web: www.facebook/blissartistmgt Contact: Linda Young Styles: urban, gospel, rock, blues, jazz, hip-hop
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Annual Directory of Managers and Booking Agents Clients: DJ Sir Jamm, Margo, Marketing, Promotions and Consultant
Anita Baker *Accepts unsolicited material
BOB BENJAMIN MANAGEMENT 201 S. 2nd Ave., Ste. 22 Highland Park, NJ 08904 732-249-3911 Fax 732-249-3715 E-mail: njbob113@aol.com Contact: Bob Benjamin Styles: Rock Clients: Joe Grushecky, Joe D’Urso *No unsolicited material
CAPITOL MANAGEMENT GROUP 330 Franklin Rd. Brentwood, TN 37027-3282 800-767-4984 (toll free) 615-321-0600 Fax 615-338-4497 E-mail: robertmetzgar@aol.com Web: www.capitolmanagement.com Contact: Robert Metzgar Styles: pop, country, bluegrass, gospel, CCM, Americana, rock, jazz/R&B traditional Clients: Jessica Alba, Gina Carrano, Smokey River Boys, Stampede, Bone Creek, Jessica Hawthorn, Ali Shumate, Deep River, Rebeccca Frederick, Andie Blackwood, Heartland, Cher Lynn Bragg, Tracy Lynn Cash, Heartland, Larry Orrell, Ricky Emanuel Brown, SONY/ ATV Songs LLC (BMI) Walt Disney Music (ASCAP) Club Platinum Music/UMG *Accepts unsolicited material
BORMAN ENTERTAINMENT 1250 Sixth St., Ste. 401 Santa Monica, CA 90401 310-656-3150 Contact: Gary Borman Clients: Keith Urban, Lady Antebellum, Alison Krauss, Michael Franti Styles: All Services: Personal management *No unsolicited material BRENT MUSIC MANAGEMENT (submission address) 14431 Ventura Blvd., #306 Sherman Oaks, CA 91423 818-535-6696 Contact: Bobby Brent, Elysia Skye Styles: All styles - always looking for outstanding songs Services: Personal management, contract negotiations, deal shopping, consulting, music and video productions *Accepts unsolicited material - call first *Not accepting rap or hip-hop at this time BRICK WALL MANAGEMENT 39 W. 32nd St., Ste. 1403 New York, NY 10001 212-501-0748 Fax 212-268-3544 E-mail: bwmgmt@brickwallmgmt.com Web: www.brickwallmgmt.com Contact: Michael Solomon & Rishon Blumberg Styles: pop, rock, country, singer-songwriter Clients: Cherry Poppin’ Daddies, The Clarks, Josh Franer, Marshall Altman, The Spring Standards, William Fitzimmons, Caddy Banks, Vanessa Carlton *No unsolicited material BRILLIANT PRODUCTIONS Decatur, GA 30030 404-373-2299 E-mail: npegel@mindspring.com Web: www.brilliant-productions.com Contact: Nancy Lewis-Pegel Styles: roots, rock, jam, Americana, blues Clients: Webb Wilder, Geoff Achison, Yonrico Scott, Randall Bramblett, Peter Karp, Sue Foley, Yonrico Scott Band Services: A boutique agency that gives personal attention to musicians *No unsolicited material BROKAW COMPANY, THE 9255 Sunset Blvd., Ste. 804 Los Angeles, CA 90069 310-273-2060 Fax 310-276-4037 E-mail: brokawc@aol.com, db@ brokawcompany.com Web: www.brokawcompany.com Contact: David Brokaw, Joel Brokaw, Sanford Brokaw Styles: All Services: Full service *No unsolicited material BULLETPROOF ARTIST MANAGEMENT & BOOKING 241 Main St. Easthampton, MA 01027 413-527-9393 E-mail: patty@bulletproofartists.com Web: www.bulletproofartists.com Contact: Patty Romanoff Styles: folk, pop, rock, country Clients: Nerissa & Katryna Nields *No unsolicited material BURGESS WORLD CO P.O. Box 646 Mayo, MD 21106 410-798-7798 E-mail: info@burgessworldco.com Web: www.burgessworldco.com Contact: Richard James Burgess Styles: rock, alt., singer/songwriter, blues, jazz Clients: Jimmie’s Chicken Shack, Ace Elijah, The Electrofied Blues Band *No unsolicited material BUSYBOY PRODUCTIONS 3211 Webster Ave. S. St. Louis Park, MN 55416 651-230-4362 612-454-7311 E-mail: info@busyboyproductions.com Web: www.busyboyproductions.com Contact: Jack Paar Styles: rock, pop, country, alt. Clients: Michelle Ella Reid, Lorenzo, Lizzy Borden, White Lion, Gin Blossoms,
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CASE ENTERTAINMENT GROUP, INC. 102 E. Pikes Peak Ave., Ste. 200 Colorado Springs, CO 719-632-0227, Fax 719-634-2274 E-mail: rac@crlr.net Web: www.newpants.com, www.oldpants.com Contact: Robert Case Clients: Silence, Lisa Bigwood, C. Lee Clarke, Kathy Watson, Todd Harris, Sherwen Greenwood, Chad Steele, James Becker, Stephanie Aramburo, Rocky Shaw, John Ellis Styles: pop, rock, country Services: personal management, record promotion *No unsolicited material CELEBRITY ENTERPRISES New Mexico 800-700-3898, 505-281-1149 E-mail: lisa@ent123.com Web: www.ent123.com Contact: Lisa de Wolf Styles: Big Band, Current Broadway, Mainstream Clients: The Pink Flamingos, The 3 Painters, Frank, Liza, Sammy-The Ultimate Concert *No unsolicited material Additional locations: Minneapolis, MN 888-746-2731, 952-935-0445 E-mail: gordy@pipelineartists.com Contact: Gordy Singer Las Vegas, NV 702-425-4040 E-mail: gaelan@ent123.com Contact: Gaelan de Wolf CHAPMAN MANAGEMENT 14011 Ventura Blvd. #405 Sherman Oaks, CA 91423 818-788-9577 Fax 818-788-9525 E-mail: info@chapmanmanagement.com Web: http://chapmanmanagement.com Styles: contemporary smooth jazz Clients: Rick Braun, Richard Elliot, Gerald Albright, Mindi Abair, David Benoit, Jeff Golub, Euge Groove, Jeff Lorber, Al Stewart, Peter White *no unsolicited material CLASS ACT PRODUCTIONS / PETER KIMMEL’S MUSIC CATALOG P.O. Box 55252 Sherman Oaks, CA 91413-0252 818-980-1039 Fax 801-912-4533 E-mail: peter.kimmel@sbcglobal.net Contact: Peter Kimmel Styles: All Services: Professional Music Licensing; Personal Management *Call for approval before sending material CLM MANAGEMENT P.O. Box 1877, Burbank, CA, 90517 E-mail: bandbiz@sbcglobal.net Styles: All Services: personal management, management consultations, music production, video access, and photo staging *Accepts unsolicitd material. COAST TO COAST MUSIC, ARTIST DEVELOPMENT, BOOKING AND PROMOTION P.O. Box 18334 Encino, CA 91416 818-376-1380 E-mail: ccmusicbooking@yahoo.com Web: www.positivemusicprograms.com Contact: Chris Fletcher Clients: Harold Payne, Faith Rivera, Gravity Styles: All Services: Management, Promotions and Booking expert *e-mail for permission to send your materials
COLLIN ARTISTS Pasadena, CA, CA 91104 323-467-4702 E-mail: collinartists@gmail.com Web: www.collinartists.com Contact: Barbara Collin, Robert Sax, Goh Kurosawa Clients: Mary Stallings, Carmen Lundy, Charmaine Clamor, Thelma Jones, Jackie Ryan, Annie Sellick, Bonnie Bowden, Amber Weekes, Kevin Mahogany, Andy Bey, Dori Caymmi, Mon David, Sam Harris, Mr. Z, Nat Adderley, Jr. Maiden Voyage, Pete Escovedo, Susie Hansen Latin Jazz Band, The Impressions, Ray Bailey, The Langston Huges Project Styles: jazz, blues, world, Latin, R&B, doo wop/classics and beyond Services: Management, promotion, consulting, booking, workshops *No unsolicited material COLUMBIA ARTIST MANAGEMENT, LLC 1790 Broadway New York, NY 10019 212-841-9500 E-mail: info@cami.com Web: www.cami.com Contact: Tim Fox Styles: instrumental, classical, jazz, world, celtic, vocalists Services: one of the world’s largest Classical music management firms *Accepts unsolicited material COOKMAN INTERNATIONAL 10627 Burbank Blvd. N. Hollywood, CA 91601 818-763-1397 E-mail: info@cookman.com Web: www.cookman.com Contact: Tomas Cookman Styles: Latin, alt., rock, pop Clients: Fabulosos Cadillacs, Manu Chao, Ozomatli, Mexican Institute of Sound, Bostich & Fussible, Pacha Massive, Tom Tom Club *No unsolicited material CORE ENTERTAINMENT ORGANIZATION 14724 Ventura Blvd. Penthouse Sherman Oaks, CA 91403 818-986-9680 E-mail: info@coreentertainment.biz Web: www.coreentertainment.biz Contact: Bill Siddons,Toni Profera Clients: Jerry Cantrell, Alice in Chains, Elayne Boosler, Fu Manchu, KMFDM, Stabbing Westward, Jonathan Butler, Pat Benatar, Jackson Browne, David Crosby, Crosby Stills & Nash, Graham Nash, Van Morrison, Robert Palmer, Poco, John Klemmer, Sparks, the Doors Styles: rock, pop, Film/TV Services: Personal management *Accepts unsolicited material CORNERSTONE MANAGEMENT Los Angeles, CA 213-217-4500 E-mail: info@cornerstonepromotion.com Web: www.cornerstonepromotion.com *No unsolicited material Additional locations: London +44 825-132-701 New York 71 W. 23rd St., 13 Fl. New York, NY 10010 212-741-7100 COUNTDOWN ENTERTAINMENT 110 W. 26th St., 3rd Fl. New York, NY 10001 212-645-3068 E-mail: lovie@countdownentertainment.com Web: www.countdownentertainment.com Contact: James Citkovic Styles: urban, hip-hop, pop, rock, country, alt., dance, club, DJ *Accepts unsolicited material, see site for submission details COURTRIGHT MANAGEMENT INC. 201 E. 87th St., Ste. 20C New York, NY 10128 212-410-9055 E-mail: CourtrightMgmt@gmail.com Contact: Hernando Courtright CREAMER MANAGEMENT 617-780-5295 E-mail: creamermgt@gmail.com Contact: Michael Creamer Styles: rock, alt., pop, s/s Clients: Superdrag, Kim Taylor, Kay Hanley, Oteil Burbridge, Letter To Cleo, Glenn Yoder and the Western States *Accepts unsolicited material
CROSS ROAD MANAGEMENT 45 W. 11th St., Ste. 7B New York, NY 10011 212-807-1509 Fax 718-504-7899 E-mail: dkahn@crossroad management.com Contact: Danny Kahn Styles: Americana, pop, jazz, world Clients: Rosanne Cash, Ben Vaughn, The Jazz Passengers *No unsolicited material CRUSH MANAGEMENT 60-62 E. 11th St., 7th Fl. New York, NY 10003 212-334-4446 Fax 212-334-0050 E-mail: info@crushmm.com Web: www.crushmm.com Styles: rock, pop, indie, hip-hop, s/s, punk Clients: Butch Walker, Fall Out Boy, Gym Class Heroes, Cobra Starship, Courtney Love/ Hole, Four Year Strong, Matt Nathanson, New Politics, Panic! At the Disco, SIA, Train, Travie McCoy, Lolo *No unsolicited material CUERVO MANAGEMENT 4924 Balboa Blvd., Ste. 485 Encino, CA 91316 951-225-8804 E-mail: cuervomgt@yahoo.com Contact: Javier Willis Styles: all types of Latin and world music Clients: Sergio Arau, Cristian Castro, Marisela, Forbidden Saints, Agina Alvarez, Victor Espinola, Forbidden Saints, Trio Ellas, Agina Alvarez, LA Atraxion CURTIS MANAGEMENT 1900 S. Corgiat Dr. Seattle, WA 98108 800-724-8038, 206-447-1819 Fax 206-447-1848 E-mail: info@curtismanage.com Contact: Kelly Curtis Clients: Pearl Jam DALE MORRIS & ASSOCIATES MORRIS ARTIST MANAGEMENT 818 19th Ave. S. Nashville, TN 37203 615-327-3400 Web: http://dalemorrismgt.com Contact: Tiffany Benken Styles: Country Clients: Kenny Chesney, Martina McBride, Louise Mandrell, Big and Rich, Blaine Larsen, Jake Owen, Andy Gibson *No unsolicited material DAS COMMUNICATIONS 83 Riverside Dr. New York, NY 10024 212-877-0400 Fax 212-595-0176 Styles: rock, pop, hip-hop Clients: Black Eyed Peas, Fergie, Jim Steinman, Carney, Spin Doctors, Toby Gad, The Veronicas, Taylor Momsen & The Pretty Reckless, Jessica Jarell, Sean Paul, Prince Royce, Katy Tiz, The Lone Bellow, Connor Cruise, MNDR *No unsolicited material DAVE KAPLAN MANAGEMENT 1126 S. Coast Hwy. 101 Encinitas, CA 92024 760-944-8800 Fax 760-944-7808 E-mail: scott@surfdog.com Web: www.surfdog.com Contact: Nola Schoder Style: Rock Clients: Brian Setzer, Stray Cats, Dave Stewart, Glen Campbell, Joss Stone, Gary Hoey, Dan Hicks, Rusty Slightly Stoopid, Dan Hicks, The Burning of Rome, Butthole Surfers, Pato Banton, Richard Cheese, Mom *We accept all unsolicited materials DAVID BENDETT ARTISTS 2431 Briarcrest Rd. Beverly Hills, CA 90210 310-278-5657 Contact: David Bendett Styles: rock, pop, bluegrass, jazz Clients: Bela Fleck, John Sebastian *No unsolicited material DAWN ELDER MANAGEMENT 303 Loma Alta Dr., Ste. 31 Santa Barbara, CA 93109 805-963-2415 Fax 805-965-4075, Global: 805-637-1178 E-mail: demgmt@aol.com Web: www.demgmt.com Contact: Dawn Elder Styles: world, rock, pop, jazz, roots, traditional, classical, international, Central-South Asian underground, Middle Eastern, North African, Mediterranean Clients: Souad Massi, Mayssa Karraa, Simon Shaheen & Arab Orchestra, Simon Shaheen & Near Eastern Ensemble, Simon Shaheen & Qantara, Bassam Saba, Kadim Al Sahir, Cheb, Sabbah & 1002 Nights and many more.
Download at www.musicconnection.com/digital Services: specializing in Middle Eastern, Central & South Asian, North African, West African & Mediterranean *No unsolicited material DCA PRODUCTIONS 676A 9th Ave., Ste. 252 New York, NY 10036 800-659-2063, 212-245-2063 Fax 609-259-8260 E-mail: info@dcaproductions.com Web: www.dcaproductions.com Contact: Daniel C. Abrahamsen Styles: pop, folk, rock Clients: Andjam Band, Backbeat A Tribute, Alison Fraser, Fiesta, Rockspolsion, Lisa Bouchelle, Vladimir & Nadia Zaitsev, Acrobats of Cirquetacular Services: variety performers, comedians, musical performers, theater productions and producing live events *Accepts unsolicited material DEEP SOUTH ENTERTAINMENT P.O. Box 17737 Raleigh, NC 27619 919-844-1515 Fax 919-847-5922 E-mail: info@deepsouthentertainment.com Web: www.deepsouthentertainment.com Contact: Steve Williams Styles: pop, rock, alt., country, Americana, AC, Christian Clients: Marcy Playground, Vienna Teng, Tres Chicas, Parmalee, I Was Totally Destroying It, Young Cardinals, Michael Sweet *Accepts unsolicited material. **Please NO CALLS DEF RO INC. 33 Prospect St. Ste. 1R Boomfield, NJ 07003 973-200-8247 E-mail: defroinc@msn.com Web: www.members.tripod.com/~sirRO/index.html Contact: Ro Smith Styles: R&B, hip-hop, pop Clients: Mary J. Blige *Accepts unsolicited material—NO CALLS DENNY BRUCE MANAGEMENT & PRODUCTIONS Burbank, CA E-mail: dbrucemgt@aol.com Contact: Denny Bruce Styles: veteran artists only Services: personal management, production, publishing, label consultant *No unsolicited material DIRECT MANAGEMENT GROUP 8332 Melroses Ave, Top Floor Los Angeles, CA 90069 310-854-3535 E-mail: info@directmanagement.com Web: www.directmanagement.com Clients: The Go-Go’s, K.D. Lang, Adam Lambert Styles: All Services: Personal management *No unsolicited material DONALD MILLER MANAGEMENT 12746 Kling St. Studio City, CA 91604 818-506-8356 Contact: Donald Miller Clients: Jackson Browne, Joel Rafael, Crosby, Stills & Nash (and solo acts) Styles: All Services: Personal management *No unsolicited material DREAMCATCHER ENTERTAINMENT 2910 Poston Ave. Nashville, TN 37203 615-210-2270 E-mail: jmazza@dreamcatchermgmt.com Web: www.dreamcatchermgmt.com Contact: Jim Mazza Styles: Country *No unsolicited material EAST END MANAGEMENT 13721 Ventura Blvd., 2nd Fl. Sherman Oaks, CA 91423 818-784-9002 Fax 818-784-9027 Contact: Tony Dimitriades Styles: rock, pop Clients: Billy Idol, Tom Petty & the Heartbreakers, Regina Spektor *No unsolicited material EGM 1040 Mariposa St., Ste. 200 San Francisco, CA 94107 415-522-5292 Fax 415-522-5293 Contact: Eric Godtland Styles: All Styles Of Rock Clients: Denny Porter * Accepts unsolicited material ELEVATION GROUP 1408 Encinal Ave., Ste. A Alameda, CA 94501 510-530-2600 E-mail: info@elevationgroup.net Web: www.elevationgroup.net Contact: Kent Sorrell Clients: Aaron Neville, Funky Meters, Neville Brothers, the New Mastersounds, The Technicolors Styles: All Services: Personal management *No unsolicited material
ELLIOT CAHN MANAGEMENT 1035 7th St. Oakland, CA 94607 510-652-1615 Fax 510-550-2770 E-mail: cahnman@aol.com Web: www.elliotcahn.com Contact: Elliot Cahn Clients: Goapele, Justin King Styles: All styles Services: Personal management *No unsolicited material EMCEE ARTIST MANAGEMENT 189 Franklin St., Ste. 294 New York, NY 10013 212-925-6458 Fax 212-925-6482 E-mail: liz@emceeartist.com Web: http://www.emceeartist.com Styles: jazz, rock, blues Clients: Medeski Martin & Wood, The Wood Brothers, Piers Faccini, John Medeski, Jenny Scheinman. MAGO *No unsolicited material EMPIRE ARTIST MANAGEMENT 235 W. 23rd St., 6th Fl. New York, NY 10011 212-343-9383 Fax 212-343-9429 E-mail: info@ultrarecords.com Web: www.ultrarecords.com Contact: Above & Beyond, Benny Benassi, Bloody Beetroots, Chris Lake, Dank Styles: electronica, club, techno *No unsolicited material ENTERTAINMENT SERVICES INT’L 6400 Pleasant Park Dr. Chanhassen, MN 55317 952-470-9000 Fax 952-474-4449 E-mail: randy@esientertainment.com Web: www.esientertainment.com Contact: Randy Erwin Styles: Rock, Classic Rock Clients: The Nylons, Ben E. King, Brewer & Shipley, Carl Dixon, the Guess Who, Humble Pie, Iron Butterfly, Mitch Ryder & The Detroit Wheels, Otis Day & the Knights, the Ozark Mountain Daredevils, the Rembrandts, Sass Jordan,Thunderstruck ERIC NORWITZ ARTIST MANAGEMENT 3333 W. 2nd St., Ste. 52-214 Los Angeles, CA 90004-6149 213-389-3477 E-mail: enorwitz@pacbell.net Contact: Eric Norwitz Styles: alt., dance, pop, R&B, rock Services: management & legal *Accepts unsolicited material EYE FOR TALENT, INC. P.O. Box 280786 San Francisco, CA 94128 650-595-2274 Fax 650-585-6810 E-mail: staff@eyefortalent.com Web: www.eyefortalent.com Contact: Bill Smith Styles: World, Jazz Services: Personal management & agents Clients: Hermeto Pascoal, Huun Huur Tu, Le Mystere Des Boix Bulgares, Les Yeux Noirs, Paris Combo, Quetzal, See website for complete roster *No unsolicited material FIRST ARTISTS MANAGEMENT 4764 Park Granada, Ste. 210 Calabasas, CA 91302 818-377-7750 Fax 818-377-7760 E-mail: fam-info@firstartistsmgmt.com Web: http://www.firstartistsmgmt.com Styles: film, S/S Clients: film composers, music supervisors, music editors *No unsolicited material FITZGERALD HARTLEY COMPANY, THE 34 N. Palm St., Ste. 100 Ventura, CA 93001 805-641-6441 Fax 805-641-6444 E-mail: Anita@fitzhart.com Web: www.fitzhart.com Contact: Anita Heilig Styles: country, pop, rock Clients: Rey Fresco, 2 Cents, Sunny Sweeney, Brent Anderson, Colbie Caillat, Big Bad Voodoo Daddy, Brad Paisley, Olivia Newton-John, Radney Foster, the Robert Cray Band, Vince Gill, Kellie Pickler, Josh Golden, Randy Houser, David Stewart, Orianthi *No unsolicited material FLEMING ARTISTS, INC. 543 N. Main St. Ann Arbor, MI 48104 734-995-9066 Fax 734-662-6502 E-mail: jim@flemingartists.com Web: www.flemingartists.com Contact: Jim Fleming Styles: rock, pop, s/s, contemporary roots rock, folk, bluegrass, improv comedy Clients: Ani DiFranco, Antje Duvekot, Ari Hest, Baskery, Brian Vander Ark, Capitol Steps, Caravan of Thieves, Cheryl Wheeler, Connie Kaldor, Damien Dempsey, Dan Bern, Dougie MacLean, Eddie From Ohio, Ellis Paul, Enter the Haggis, Garnet Rogers, Glen Phillips, Grant-Lee Buffalo, Gregory Alan Isakov, Hoots & Hellmouth, Jane Siberry, Jeff Daniels, Krista Detor, Lucy Kaplansky, Martyn Joseph, Mountain Stage Radio
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Annual Directory of Managers and Booking Agents Show, Peter Mulvey, Po’Girl, Richard Shindell, Robbie Schaefer, Ryan Montbleau Band, The Guggenheim Grotto, The Second City, The Verve Pipe, Toad the Wet Sprocket, Tom Paxton, Tony Furtado, Umphrey’s McGee, Willy Porter, WPA–Works Progress Administration FRESH FLAVA ENTERTAINMENT 2705 12th St. N.E. Washington, DC 20018 202-832-7979 E-mail: freshflava1@aol.com Web: www.freshflava.com Contact: Emanuel Maurice ‘Moe’ Yeoman Styles: hip-hop, R&B, jazz, gospel, rock Clients: Elliot Lavine, Tabbo, DJ Sir Jamm *Accepts unsolicited material FUZED MUSIC P.O. Box 19436 Seattle, WA 98109 206-352-6892 Fax 206-374-2429 E-mail: info@fuzedmusic.com Web: www.fuzedmusic.com Contact: Grady Chapman Styles: alt., folk, rock, hip-hop Clients: Blue Scholars, Common Market, the Presidents Of the United States of America *Not currently accepting submissions GARVAN MEDIA, MANAGEMENT & MARKETING P.O. Box 737 Sandpoint, ID 83864 208-265-1718 Fax 208-265-7296 E-mail: steve@garvanmanagement.com Web: www.immf.com, www.mmfus.com Contact: Stephen Bond Garvan (formerly N.Y.C., Colorado, New England) Styles: rock, s/s, roots, country, Americana Clients: Big Wide Grin, Chris Daniels & the Kings, Katoorah Jayne, Michael Kelsh, Eleanor McEvoy (US/Canada) Lenou (US/Canada), Tom Roznowski, Beth Wood Advisory: Bob Rea, Chi Mclean, Cliff Eberhardt Advisory: Bob Rea, Chi Mclean, Cliff Eberhardt, Bianca DeLeon, Bridges Home GARY STAMLER MANAGEMENT P. O. Box 34575 Los Angeles, CA 90034 310-838-1995 E-mail: garystamler@gsmgmt.net Web: www.gsmgmt.net Contacts: Gary Stamler, Nancy Sefton Clients: Lionel Neykov, Waltham, Tchad Blake, Kevin Booth, Sons of Midnight, Lynda Kay, Kevin Booth Styles: All Services: personal management *No unsolicited material GENUINE REPRESENTATION / GENUINE MUSIC GROUP 11271 Ventura Blvd., Ste. 225 Studio City, CA 91604 E-mail: mav@genuinemusic.com Web: www.genuinemusicgroup.com Styles: R&B, hip-hop, pop, pop rock Clients: Brandon Bassir *No phone calls please GOLD MOUNTAIN ENTERTAINMENT 12400 Ventura Blvd. #444 Studio City, CA 91604 818-508-2210 Fax 818-508-5120 E-mail: info@gmemusic.com Web: gmemusic.com Contact: Ron Stone, Peter Wark, Jerrod Wilkins and Preeya Khanna Clients: Ray Davies, Rickie Lee Jones, New York Dolls, Joseph Arthur, John Waite, Nakia Styles: All Services: personal management *No unsolicited material GOLIATH ARTISTS 151 Lafayette St. New York, NY 10012-3311 212-324-2410 Contact: Paul Rosenberg Styles: rap, hip-hop Clients: Eminem, Slaughterhouse, Yelawolf *no unsolicited material GOODMAN AND ASSOCIATES MANAGEMENT, MARKETING & PR 11271 Ventura Blvd. #341 Studio City, CA 91604 818-760-6700 E-mail: goodmanjoe@me.com Contact: Joseph L. Goodman Styles: rock, alt., pop Services: Full-service management, marketing, public relations *Accepts unsolicited material LAURA GROVE 8530 Holloway Dr., Ste. 328 Los Angeles, CA 90069 310-855-1631 Fax 310-657-7197 E-mail: LDG@anet.net Contact: Laura Grover
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Styles: pop, rock *No unsolicited material HALFPIPE ENTERTAINMENT P.O. Box 10534 Hollywood, CA 90213 310-651-6233 E-mail: info@halfpipemusic.net Web: www.halfpipe-entertainment.com Contact: Lee Scheinbaum Styles: alt., rock, indie, s/s, surf pop, electronic, lounge, remixes, psychedelic, hip hop, R&B, nu soul, jazz, underscores Clients: Jeff Martin, Greg Camp, Aidan Lavelle, the Newton Brothers, Ceiri Torjussen, Erik Godal, Tommy Coster, Christopher Faizi, Kiran Shahani, Scott Thomas, James Hall, Jaymay, Stefano Tomaselli, Contrella PatrickHenry, Mark Tschanz, Chris Seefried, Trevor Shand, Mike Semple, Sean Hennessy, Kathie Talbot, Brian Rawlings, Colby Trane, Tom Carolan, Cathy Duncan *Accepts unsolicited material - web streaming audio submissions only, prefer soundcloud or similar. HEADLINE TALENT P.O. Box 131518 Staten Island, NY 10313 212-581-6900 E-mail: glknight10@yahoo.com Styles: classic rock, oldies, soul, hip-hop, a cappella Clients: The Drifters, the Coasters, the Platters, the Dubs, the Marvelettes, the Persuasions *Accepts unsolicited material HEART & SOUL ARTIST MANAGEMENT, LLC Miki Mulvehill Minnesota Office 1885 Shady Beach Avenue Roseville, MN 55113 651-755-7944 E-mail: miki@hsartistmgmt.com Web: heartandsoulartistmanagement.com Clients: Vicci Martinez, Beverly McClellan, David Z Additional location: New York 67 Monroe St., #2 Brooklyn, NY 11216 206-354-2789 E-mail: beth.tallman@hsartistmgmt.com HOFFMAN ENTERTAINMENT 20 W 55th St. New York, NY 11019 212-765-2525 Contact: Randy Hoffman Styles: R&B, rock, pop, country Clients: John Mellencamp, Hugo, Will Dailey, Carlene Carter *No unsolicited material HOWARD ROSEN PROMOTION, INC. 1129 Maricopa Hwy, #238 Ojai, CA 93023 805-382-2200 E-mail: info@howiewood.com Web: www.howiewood.com Contact: Howard Rosen, Siri Rosen Clients: Paula Abdul, New Boyz, Stone Sour, Green Day, Jaicko, James Otto, Girl in a Coma, We the Kings Styles: All Services: Personal management, shop for distribution and record deals. Production and remix with major producers *Accepts unsolicited material IMC ENTERTAINMENT GROUP, INC. 19360 Rinaldi St., Ste. 217 Porter Ranch, CA 91326 818-700-9655 E-mail: sr@imcentertainment.com Web: www.imcentertainment.com Contact: Sylvester Rivers Clients: Paul Riser, T. Renee Styles: pop, R&B Services: full service *No unsolicited material IMPACT ARTIST MANAGEMENT P.O.Box 1490 Woodstock, NY 12498 212-280-0800 E-mail: info@impactarists.com Web: www.impactartist.com Styles: jazz, world, rock, pop, blues, R&B, folk, alt. country Clients: Gipsy Kings, Jon Cleary, Willie Nile, Cassandra Wilson, Clem Snide, Thomas Dolby *No unsolicited material IN DE GOOT ENTERTAINMENT 119 W. 23rd St., Ste. 609 New York, NY 10011 212-924-7775 Fax 212-924-3242 E-mail: tcouch@indegoot.com Web: www.indegoot.com Contact: Tony Couch Styles: rock, pop
Clients: 10 Years, Adelitas Way, Bel Heir, Black Stone Cherry, Chevelle, Highly Suspect, Halestrom, In This Moment, Kyng, Neon Trees, New Medicine, Nightmare & The Cat, Robert Fenn, Sevendust, Shinedown, Story of The Year, Theory Of A Deadman *Accepts unsolicited material - Attn: Dave Bennett INTERNATIONAL CREATIVE MANAGEMENT (ICM) 10250 Constellation Blvd. Los Angeles, CA 90067 310-550-4000 E-mail: slevine@icmtalent.com Web: www.icmtalent.com Contact: Steve Levine Styles: dance, classical, jazz, folk, world, contemporary, R&B, hip-hop *No unsolicited material Additional locations: 730 Fifth Ave. New York, NY 10019 212-556-5600 3rd Floor, Marlborough House 10 Earlham St. London, WC2H 9LN, England +44-0-20-7836-8564 IN TOUCH ENTERTAINMENT 5 Columbus Circle, 8th Fl New York, NY 10019 212-714-7722 Fax 212-202-7579 E-mail: info@intouchhome.com Web: www.intouchhome.com Contact: Charles Carlini Styles: All Styles Clients: Tori Beaumont, Irene Cara, Michael Carvin, Brian Charette, David Chesky, Suzanne Ciani, Pino Daniele, Eumir Deodato, Eldar Djangirov, Theo Crocker, Ariadna Castellanos *Accepts unsolicited material - via SonicBids only INTRIGUE MUSIC MANAGEMENT 24 Preble St., 3rd Fl. Portland, ME 04101 207-221-3311 E-mail: staff@intriguegroup.com Web: www.intriguemusic.com Contact: Super Frank Styles: rock, pop Clients: Artem Korolev, Amy Allen, Bananarama, My Ticket Home, Shana Farr, Patrick Watson & The Cinematic Orchestra, David J. Roch, James Brown, Soft Reeds, Trey Ewald, David Webb, Phil Bensen, Billy LIbby, eric-jon, Braille *No unsolicited material INVASION GROUP 34 East 32nd St., Ste. 100 New York, NY 10016 212-414-0505 Fax 212-414-0525 E-mail: webinquiry@invasiongroup.com Web: www.invasiongroup.com Contact: Peter Casperson Styles: rock, world, folk, s/s Clients: Zach Deputy, Dawn Landes, The Bandana Splits, Caravan of Thieves, Gail Ann Dorsey, Jai Uttal, Robin Danar, Mark Wood, Scott Jacoby, Bill Laswell, Maiysha, Ryan Dahle, Gigi, Tail Heights, Graham Colton *Accepts unsolicited material IVORY DANIEL Regime Management 105 W. Alameda Ave. #230 Burbank, CA 91502 818-841-3490 x7 Fax 818-841-1371 E-mail: info@regimeinc.com Web: www.regimeinc.com Clients: Poncho Sanchez, Big B, B-Side Players, Brokencyde, Christian Scott, Dilated Peoples, Jason Ellis, DJ Babu, DJ Muggs, Everlast, Evidence, Glasses Malone, House of Pain, Jason Ellis, Madchild, Mest, Michey Avalon, Orgone, Quetzal, Rakaa, Red Light King, Slaine, Swollen Members, Unwritten Law, Vista Chino JAMES C. LEVESQUE Levesque Wilkinson Media Relations 714-313-6303 E-mail: james@lwmediarelations.com, info@ lwmediarelations.com JAMPOL ARTIST MANAGEMENT 8899 Beverly Blvd., Ste. 812 W. Hollywood, CA 90048 310-274-8471 E-mail: assistant@jamincla.com Web: www.wemanagelegends.com Contact: Jeff Jampol Clients: The Estates of the following: The Doors, the Janis Joplin Estate, the Peter Tosh Estate, Tupac Shakur, Jim Morrison, Ramones, Otis Redding, Henry Mancini *Does not accept unsolicited material
KAHN POWER PICTURES 433 N. Camden Dr., Ste. 600 Beverly Hills, CA 90210 310-550-0770 E-mail: iampower007@gmail.com Web: www.artists4film.com Styles: film/tv scores, composer/performer/ director representation Clients: Nancy Bishop, Stewart Copeland, Robert Dornhelm, Claudio Faeh, J. Petere Robinson, Peter Gloub, Mader, Michael Nyman *No unsolicited material KARI ESTRIN MANAGEMENT & CONSULTING P.O. Box 60232 Nashville, TN 37206 615-262-0883 E-mail: kari@kariestrin.com Web: www.kariestrin.com Contact: Kari Estrin Styles: folk, Americana, AAA, roots Clients: David Llewellyn, Janis Ian, Tony Rice, Bluegrass/Newgrass legend, Suzanne Vega, Kanda Bonga Man, Papa Wemba, Kevin Brown, 3 Mustaphas 3 *Accepts unsolicited material KBH ENTERTAINMENT GROUP 7646 Kester Ave. Van Nuys, CA 91405 818-786-5994 Contact: Brent Harvey E-mail: info@kbhentertainment.com Web: www.kbhentertainment.com Styles/Specialties: All styles, entertainment consulting, artist management, publicity, music placement/licensing and live event production *No unsolicited material KBM 1459 Morton Pl. Los Angeles, CA 90026 310-234-0280 Fax 310-234-0282 E-mail: kbmgt@aol.com Contact: Brent Harris Clients: Tony! Toni! Tone’!, Sounds of Blackness, Jamell *No unsolicited material KRAFT ENGEL MANAGEMENT 15233 Ventura Blvd., Ste. 200 Sherman Oaks, CA 91403 818-380-1918 E-mail: info@kraft-engel.com Web: www.kraft-engel.com Contact: Richard Kraft Styles: Film Composers *No unsolicited material KRAGEN & COMPANY E-mail: info@kragenandcompany.com Web: www.kenkragen.com Contact: Ken Kragen Clients: Suzanne Whang, Ronn Lucas, the Smothers Brothers, J. Geils Band, Travis Tritt Styles: Comedy, Country, Adult Contemporary Services: personal management, TV production *No unsolicited material KUPER PERSONAL MANAGEMENT/ RECOVERY RECORDINGS 515 Bomar St. Houston, TX 77006 713-520-5791 E-mail: info@recoveryrecordings.com Web: www.recoveryrecordings.com Contact: Koop Kuper Styles: folk, roots rock, Americana Clients: The Very Girls, David Rodriguez *Accepts unsolicited material LAKE TRANSFER ARTIST MANAGEMENT 11300 Hartland St. N. Hollywood, CA 91605 818-508-7158 E-mail: info@laketransfer.com Web: www.laketransfer.com Contact: Steven B. Cohen Clients: Candyboy, Mari Y., Friends of Distinction, Evelyn Champagne King, Rose Royce, The Val Diamond, Band LAMONT PATTERSON 4080 Paradise Rd. Las Vegas, NV 89169 323-957-7322 Cell 213-792-4662 E-mail: Lamont@ worldmovement.com Web: www.worldmovement.com Contact: Lamont Patterson Clients: Drew Raber, Rogon&Co, Kanya, Comedian Dewayne Dukes, Wylde Bunch, Beko, Coast Ridas, Michelle, Ghetto Hippie L.A. PERSONAL DEVELOPMENT See Yes, Dear Ent. LATIN MUSIC ARTISTS 4131 W. Oquendo Rd. Ste. 3 Las Vegas, NV 89118 702-363-7273 E-mail: info@latinmusicartists.com
Download at www.musicconnection.com/digital Web: www.latinmusicartists.com Styles: Latin *Accepts unsolicited material LEN WEISMAN PERSONAL MANAGEMENT 357 S Fairfax Ave., Ste. 430 Los Angeles, CA 90036 323-653-0693, 323-653-7670 E-mail: parlirec@aol.com Web: www.parliamentrecords.com Contact: Len Weisman Styles: R&B, soul, blues, gospel, rap, soul, pop Clients: Jewel With Love, Chosen Gospel Recovery Singers, Winds Of Fate, Rapture 7, Chosen Gospel Singers, L’Nee, Sister Maxine West, TooMiraqulas (rapper), Winds of Fate *Accepts unsolicited material LEONARD BUSINESS MANAGEMENT 532 Colorado Ave., 2nd Fl. Santa Monica, CA 90401 310-458-8860 E-mail: info@lbmgt.com Web: leonardbusinessmanagement.com Contact: Jerry Leonard Clients: Call for roster Styles: All Services: Business management only *No unsolicited material LINC STAR P.O. Box 549 Colts Neck, NJ 07722 732-578-8493 E-mail: johnd@lincstarrecords.com Web: http://lincstarrecords.com Contact: John D’Esposito, Mgr. *Does not accept unsolicited material LIPPMAN ENTERTAINMENT 23586 Calabasas Rd., Ste. 208 Calabasas, CA 91302 818-225-7480 Fax 818-900-0749 E-mail: music@lippmanent.com Web: www.lippmanent.com Contact: Michael Lippman, Nick Lippman Clients: producers, artists, songwriters Styles: All Services: Full-service *No unsolicited material LLOYD SAX MANAGEMENT 3021 Airport Ave., Ste. 101i Santa Monica, CA 90405 310-572-0023 Fax 310-572-0043 E-mail: lloydsax1@gmail.com Contact: Lloyd Sax Clients: Troy Burgess Styles: All Services: personal and business management *Accepts unsolicited material LOGGINS PROMOTION 310-325-2800 E-mail: staff@logginspromotion.com Web: www.logginspromotion.com Contact: Paul Loggins Services: Represents both major and independent artists. All genres. LOOKOUT MANAGEMENT 1460 4th St., Ste. 300 Santa Monica, CA 90401 310-319-1331 Fax 310-319-5331 E-mail: webstar@lookoutmgmt.com Web: N/A Contact: Elliot Roberts, Frank Gironda Styles: rock, alt. Clients: Neil Young, Stephen Stills, Mazzy Star, Love in the Circus, Carly Ritter, Jamiroquai Services: Personal management *No unsolicited material
LUCEDIO MUSIC 413-977-5282 E-mail: lucediomusic666@gmail.com Contact: Jessika Norman Web: www.facebook.com/jessika.norman Styles: Extreme forms of Metal Clients: Hotile City Metal Fest *Accepts unsolicited material LUPO ENTERTAINMENT 725 River Rd., ste. 32-288 Edgewater, NJ 07020 E-mail: steve@lupomusic.com, nicklopiccolo@ lupoentertainment.com Web: www.lupomusic.com Contact: Steve Corbin, Nick LoPiccolo, Brooke Bloomquist Styles: rock, pop, R&B, country, hip-hop Clients: Jim Wilson, Megan McCallon, Lo-Star, Lauren Mayhew *Contact prior to sending material Additional location: 1905 Grace Ave. Hollywood, CA 90068 MAINE ROAD MANAGEMENT 195 Chrystie, Ste. 901F New York, NY 10002 212-979-9004 E-mail: mailbox@maineroad management.com Web: www.maineroadmanagement.com Contact: David Whitehead Styles: rock, S/S, pop Clients: David Byrne, Helmet, Joe Jackson, Tyondai Braxton, Mimi Goese, Hugh Laurie, Anna Von Hausswolff, Natalie Merchant *No unsolicited material MAJOR BOB MUSIC 1111 17th Ave. S. Nashville, TN 37212 615-329-4150 Web: www.majorbob.com Contact: Bob Doyle Styles: Country, Pop Clients: Garth Brooks, The Band Perry, John & Jacob, The Features, Dukes of Daville *No unsolicited material MANAGEMENT ARK 116 Village Blvd., Ste. 200 Princeton, NJ 08540 609-734-7403 Vernon H. Hammond III 800-877-7133 Edward C. Arrendell, II E-mail: managearkeast@comcast.net, info@mngtark.com Web: www.managementark.com Contact: Vernon Hammond III, Edward C. Arrendell, II Styles: jazz Clients: Wynton Marsalis, Kenny Garrett, Cecile McLorin Salvant *No unsolicited material MAPLE JAM MANAGEMENT 818-840-9000, 212-348-9567 E-mail: info@mjmg.us Web: www.mjmg.us Contact: Starr Andreeff, VP Managers: Mike Renault, Starr Andreeff and Jeff Peters Clients: Taryn Manning, Christian Burghardt, MaDonna Grimes, The Fame Riot, Samantha Robinson, Alex Lowery, Madison Sweeney, David Valdes, Anna Vissi, Kiersey Clemons MARKY RAY The Original Rock and Roll Mercenary 330-289-0589
E-mail: fuzzunit@aol.com Web: http://www.linkedin.com/in/markyray Styles: rock, experimental, power pop, avant garde Clients: 3D, the terrible parade, Death On A Stick, The Action, IguanaDonHO *No unsolicited email, phone calls or packages MARIS AGENCY Van Nuys, CA (818) 708-2493 E-mail: info@marisagencyla.com Web: www.marisagencyla.com Contact: Steve Styles: pop, rock and alternative rock with a pop edge Clients: Privet Earth, Walking Tall, Xavier Miller. Services: Will shop a band to Record Co.’s, provided the sound of the band works properly. If a band has the proper sound with right songs and the right vocals, then will help get the word out on the band. When sponsors are found will book tour dates to clubs and larger venues when they can fill clubs. First let me know what you seek to do and then I will need to hear the sound of the band. MASCIOLI ENTERTAINMENT CORPORATION 319 Dillon Cir. Orlando, FL 32822 407-897-8824 Web: www.masciolientertainment.com Contact: Paul A. Mascoli Styles: country, jazz, R&B, orchestras, swing, tropical, rock Clients: Ian Tyson, Fernando Varela, Age of Days, The Gords, Asad Mecci, The Current, Four Divo, Gleefully, Champagne Dress, Red Carpet Lady *Accepts unsolicited material McGHEE ENTERTAINMENT 8730 Sunset Blvd., Ste. 200 Los Angeles, CA 90069 310-358-9200 Fax 310-358-9299 E-mail: info@mcgheela.com Web: www.mcgheela.com Contact: Doc McGhee Clients: KISS, Hootie & the Blowfish, Down, Ted Nugent, Darius Rucker, Drew Davis, Sacha Edwards, Night Ranger, Vintage Trouble, Down, Duff McKagan’s Loaded, Mallary Hope, Clint Black, The Willis Clan, Clint Wicks, Joel Crouse, Jack Blades, Easton Hamlin Styles: All styles Services: Personal management *No unsolicited material Additional location: 21 Music Sq. W. Nashville, TN 37203 615-327-3255 Fax 615-327-3260 info@mcgheela.com M. HITCHCOCK MANAGEMENT 5101 Overton Rd. Nashville, TN 37220 615-333-0015 E-mail: info@mhmgmt.com Web: www.mhmgmt.com Contact: Monty Hitchcock Styles: alt. country, contemporary folk, rock, country Clients: John Starling & Carolina Star, Ben Cyllus, Danny Flowers, Dylan LeBlanc, Sweethearts of the Rodeo *No unsolicited material MICHAEL HAUSMAN ARTIST MANAGEMENT 276 First Ave. New York, NY 10009
212-505-1943 Fax 212-505-1127 E-mail: michael@michaelhausman.com Web: www.michaelhausman.com Contact: Michael Hausman Styles: rock, pop, s/s Clients: Aimee Mann, Suzanne Vega, Marc Cohn *No unsolicited material MIKE’S ARTIST MANAGEMENT P.O. Box 35880 Tucson, AZ 85740 520-628-8655 E-mail: mike@mikesmanagement.com Web: www.mikesmanagement.com Contact: Mike Lembo Styles: rock, pop, Americana Clients: Tony Furtado, Jules Mark Shear, Mostly Bears, Luca, Brian Lopez, SIRSY, The Coal Men *No unsolicited material MILLION DOLLAR ARTISTS 13001 Dieterle Ln. St. Louis, MO 63127 314- 965-5648, 888-521-8146 E-mail: info@americaneaglerecordings.com Web: www.milliondollarartists.net Contact: Dr. Charles “Max” E. Million Styles: All Styles Clients: Well Hungarians, Sable, Spanky and Our Gang, KLLR SmiLe, Jim Carrick *Accepts unsolicited material should include the caveat MONOTONE INC. 820 Seward St. Hollywood, CA 90038 323-308-1818 Fax 323-308-1819 Clients: The Shins, White Stripes, Vampire Weekend, the Raconteurs, Cold War Kids MSH MANAGEMENT Studio City, CA 818-761-0874 E-mail: mshmgmt@yahoo.com Contact: Marney Hansen Clients: Michelle Mangione, The Hursts, Every Other Wednesday Services: personal management *No unsolicited material MUSIC & ART MANAGEMENT 9 W. Walnut St., Ste. 2D Asheville, NC 28801 828-225-5658 E-mail: steve@musicandart.net Web: www.musicandart.net Contact: Steve Cohen Styles: Jazz, Electronic, Experimental, Multimedia Clients: DJ Spooky, Carl Hancock Rux, Vijay Iyer, Acoustic Syndicate, Theo Bleckmann *Does not accept unsolicited material MUSIC INC MANAGEMENT 745 W. Katella Ave. Orange, CA 92867 714-900-6840 E-mail: info@musicinc.org Web: www.musicinc.org Contact: Vince Pileggi Styles: Pop *Accepts unsolicited material NETTWERK PRODUCER MANAGEMENT 6525 Sunset Blvd., Ste 800 Hollywood, CA 90028 323-698-1845 E-mail: info@nettwerk.com Web: www.nettwerk.com *No unsolicited material
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Annual Directory of Managers and Booking Agents Additional locations: 345 7th Ave., Ste. 1101 New York, NY 10001 212-760-1540 33 Richdale Ave, Ste. 121 Cambridge, MA 02140 617-497-8200 Rear of 44 Chiswick Lane London, W4 2JQ 011-44-207-456-9500 Neuer Kamp 32 20357 Hamburg, Germany 49-40-431-846-50 1650 W. 2nd Ave. Vancouver, BC V6J 4R3 604-654-29029 NEW HEIGHTS ENTERTAINMENT P.O. Box 8489 Calabasas, CA 91372 323-802-1650 E-mail: info@newheightsent.com Web: www.newheightsent.com Contact: Alan Melina Styles: All Styles Clients: RedOne Productions, 2101 Songs, Songs of RedOne, 2101 Records, Anders Music Inc, Adam Anders, Nikki Anders, Orange Factory Music *No unsolicited material NOCTURNAL MOVEMENTS MUSIC RESOURCES P.O. Box 5583 Vancouver, WA 98668 360-513-9121 E-mail: Jett@nocturnalmovements.net Web: www.nocturnalmovements.net Contact: Jett Black Styles: All Styles Clients: Deathwatch Beetle Repairman, TriState Killing Spree, Collilde, Tone Casualties *Accepts unsolicited material NUMAX ENTERTAINMENT P.O. Box 740 Branson, MO 65615 877-321-6044 E-mail: info@numaxentertainment.com Web: www.numaxentertainment.com Contact: Randy Stringfellow Styles: nostalgia, pop, swing, jazz, Country, R&B Clients: Six Real Brothers, Imagine, the Alley Cats, the Heartbeats *Accepts unsolicited material OMNI ENTERTAINMENT, INC. 6119 Greenville Ave., Ste. 361 Dallas, TX 75206 214-272-2301 Fax 214-269-0211 Web: www.omnicaprice.com Contact: Don Brooks Styles: rock, country, pop, punk, metal, alt. Clients: Beneath Me, Displaced, Saturate, Spiral Arms *No unsolicited material PACIFIC BEACH RECORDING COMPANY 1939 Grand Ave., 2nd Lvl. San Diego, CA 92109 858-490-3961 E-mail: sunny@pacificbeachrecords.com Web: www.pacificbeachrecords.com Contact: Hugh Herrera, A&R Director; Chris Renzulli, President Styles: Pacifica, Balearic, cosmic house, funky disco, electronica, experimental, intelligent dance Clients: H-Track, Dirtywerk, DJ Harvey, DJ Renzulli *Accepts unsolicited material PANACEA ENTERTAINMENT 13587 Andalusia Dr. E. Camarillo, CA 93012 805-491-9400 Fax 805-491-0406 E-mail: info@panacea-ent.com Contact: Eric Gardner, Lynn Robnett Styles: rock Clients: Donny Osmond, Todd Rundgren, Utopia, Paul Shaffer, Richard Belzer, Cassandra “Elvira” Peterson, Martha Quinn Services: Personal management *No unsolicited material PATRICK RAINS & ASSOCIATES 1255 5th Ave., Ste. 7K New York, NY 10029 212-860-3233 E-mail: pra@prarecords.com Web: www.prarecords.com Contact: Patrick Rains Styles: jazz, pop, rock Clients: Jonatha Brooke, Joe Sample, the Crusaders, Randy Crawford, David Sanborn *No unsolicited material PERFORMINGBIZ.COM 10 Chestnut Ct.
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Palmyra, VA 22963 434-591-1335 E-mail: jg@performingbiz.com Web: www.performingbiz.com Contact: Jeri Goldstein Styles: All Styles/Coaching & Consulting Only *Accepts Unsolicited material
E-mail: wrongent@yahoo.com Web: www.rerdstarartists.com Contact: Mike Crowley Clients: Diecast Styles: alt., rock Services: personal management *Accepts unsolicited material, please e-mail for permission
PERSISTENT MANAGEMENT P.O. Box 88456 Los Angeles, CA 90009 424-245-0416 E-mail: pm@persistentmanagement.com Web: www.persistentmanagement.com Contact: Eric Knight Styles: All Clients: Ignacio Val, Satellite Sky, Eric Knight Services: Personal Management *Accepts Unsolicited material, email links only, no phone calls
REGIME MANAGEMENT 105 W. Alameda Ave. #230 Burbank, CA 91502 E-mail: info@regimeinc.com Web: www.regimeinc.com Contact: Ivory Daniel, Kevin Zinger, Benny Glickman, Violet Brown Clients: B-Side Players, Big B, Christian Scott, Dilated Peoples, Jason Ellis, Everlast, House of Pain, Glasses Malone, Mickey Avalon, DJ Muggs, Poncho Sanchez, Slaine, Swollen Members, Unwritten Law
PRODIGAL SON ENTERTAINMENT Brentwood, TN 37027 615-377-0057 E-mail: prodigalsonent@gmail.com Web: www.prodigalson-entertainment.com Contact: Scott Williams Styles: rock, alt., hard rock, country, Christian, instrumental Clients: Skyhawk Drive, 7 Bridges, Jason Lee McKinney, iShine Live, KISS Mania, Voices of Rock Radio, Liquid Blue, Submission Red, llia, Joanna Beasley, August Rain, Air Five *No unsolicited material PROSPECT PARK 2049 Century Park E., Ste. 2550 Los Angeles, CA 90067 310-746-4900 Fax 310-746-4890 E-mail: jsousa@prospectpk.com Contact: Jennifer Sousa *No unsolicited material Q PRIME MANAGEMENT 729 7th Ave., 16th Fl. New York, NY 10019 212-302-9790 E-mail: info@qprime.com Web: www.qprime.com Contact: Randi Seplow Styles: rock, pop Clients: Muse, Metallica, Silversun Pickups, Red Hot Chili Peppers, POP ETC *No unsolicited material RAINMAKER ARTISTS P.O. Box 342229 Austin TX 78734 512-843-7500 E-mail: paul@rainmakerartists.com Web: www.rainmakerartists.com Contact: Paul Nugent Styles: rock, pop Clients: Blue October, Bowling For Soup, IAMDYNAMITE, People On Vacation, Tori Vasquez, Zayra *Accepts unsolicited material REBEL WALTZ MANAGEMENT 31652 2nd Ave. Laguna Beach, CA 92651 949-499-4497 E-mail: info@rebelwaltz.com Web: www.rebelwaltz.com Contact: Jim Guerinot Styles: punk, rock Clients: The Offspring, No Doubt, Josh Freese, Gwen Stefani, Robbie Robertson *No unsolicited material REDGORILLA MUSIC FEST E-mail: info@redgorillamusic.com Web: www.redgorillamusic.com Contact: Kelly M. Fenton Styles: All genres accepted Clients: Please visit site for more information *Submit via snail mail RED LIGHT MANAGEMENT 8439 W. Sunset Blvd. Los Angeles, CA 90069 310-273-2266 E-mail: info@redlightmanagement.com Web: www.redlightmanagement.com Styles: All Styles Clients: Tim McGraw, Alicia Keys, Steve Angello, Phish, Ben Harper, Damian Marley, Alabama Shakes, Petty Lights *Accepts unsolicited material Additional locations: Charlottesville New York Nashville London Atlanta RED STAR 1007 N. Vinedo Ave. Pasadena, CA 91107 626-798-0053 Fax 626-798-2052
ROGER SMITH ENTERTAINMENT P.O. Box 756 Oceanside, CA 92049 310-497-1326 E-mail: rsmithpro@earthlink.net Services: full service entertainment company specializing in publicity, promotion, marketing and consulting *No unsolicited material RON RAINEY MANAGEMENT, INC. 315 S. Beverly Dr., Ste. 300 Beverly Hills, CA 90212 310-277-4050 Fax 310-557-8421 E-mail: rrmgmt@aol.com Web: www.ronrainey.com Contact: Ron Rainey Clients: John Kay & Steppenwolf, Billy Dean, August Darnell, Kid Creole & the Coconuts, Marshall Tucker Band, Alvin Lee, Blue Cheer Styles: rock Services: management *No unsolicited material ROSEN MUSIC P.O. Box 1308 Pacific Palisades, CA 90272 310-471-1272 E-mail: rosenmusiccorp@me.com Web: www.rosenmusiccorp.com Contact: Steven Rosen Styles: all styles Clients: Orianthi, Edwin Aguilar & Jose Zelaya, A Night With Janis Joplin, Ryan Newman, Juliana Buhrin, Gloria Loring *No unsolicited material RPM MANAGEMENT 815 18th Ave. S. Nashville, TN 37203 615-256-1980 E-mail: april@rpmweb.com Contact: April Rider RPM MUSIC PRODUCTIONS 48 W. 10th St., Ste. B New York, NY 10011 212-246-8126 Fax 212-397-1371 E-mail: dbennett@rpm-productions.com Contact: Danny Bennett Styles: rock, pop, jazz Clients: Tony Bennett *No unsolicited material RPS RECORDING AND ENTERTAINMENT GROUP 4212 E Los Angeles Ave. Simi Valley, CA 93063 805-551-2342 E-mail: rps-records@sbcglobal.net Web: www.rps-records.com Contact: Gary Bright Styles: Various genres along with Gospel and Christian *No unsolicited material please RUSSELL CARTER ARTIST MANAGEMENT 567 Ralph McGill Blvd. Atlanta, GA 30312 404-377-9900 Fax 404-377-5131 E-mail: russell.rcam@gmail.com Web: https://facebook.com/pages/RussellCarter-Artist-Management/174050332290 Contact: Russell Carter Styles: S/S, alt., Americana, pop, rock Clients: Indigo Girls, Matthew Sweet, the Bangles, Shawn Mullins, Chely Wright, the Shadowboxers, Larkin Poe SAM Silva Artist Management 722 Seward St. Los Angeles, CA 90038 323-856-8222 E-mail: info@sammusicbiz.com Web: www.sammusicbiz.com Contact: John Silva Clients: Foo Fighters, Band of Horses, Ryan Adams, Jimmy Eat World, Beastie Boys, Beck, Probot, Sonic Youth, Queens Of The Stone Age, Taylor Hawkins and the Coattail Riders Styles: alt., rock *No unsolicited material
SHARPE ENTERTAINMENT SERVICES, INC. 683 Palmera Ave. Pacific Palisades, CA 90272 310-230-2100 Fax 310-230-2109 E-mail: frances@ses-la.com Web: www.ses-la.com Contacts: Wil Sharpe, CEO; Frances Sharpe Manager Clients: Sarah Bettens, K’s Choice, Bigelf, Black Box Styles: alt., pop, S/S, rock Services: Personal management *No unsolicited material SILENT PARTNER MANAGEMENT 536 Pantops Ctr., Ste. 343 Charlottesville, VA 22911 434-245-4000 E-mail: contact@silentpartner management.com Web: www.silentpartnermanagement.com Styles: rock Clients: Joey Ramone, Cheap Trick, Ace Frehley, Ministry *No unsolicited material SIREN MUSIC P.O. Box 12110 Portland, OR 97212 503-238-4771 E-mail: december@sirenmusiccompany.com Web: www.sirenmusiccompany.com Contact: December Carson Styles: roots, Americana, rock, folk, s/s, alt. country, Irish, pop, bluegrass Clients: Sara Jackson-Holman, Caleb Klauder, the Foghorn Stringband, Bella Fayes *Accepts unsolicited material SORKIN PRODUCTIONS 3742 Jasmine Ave., Ste. 201 Los Angeles, CA 90034 310-559-5580 Fax 310-559-5581 E-mail: donsorkin@aol.com Contact: Don Sorkin Styles: R&B, pop, rock, dance Services: Personal management, publishing *Call for approval before sending material SOUNDTRACK MUSIC ASSOCIATES 1460 4th St., #308 Santa Monica, CA 90401 310-260-1023 E-mail: info@soundtrk.com Web: www.soundtrk.com Contact: John Tempereau Styles: All Styles Clients: Cliff Martinez, John Swihart, Jeff Danna, Jeff Cardoni, Tree Adams, Alf Clausen *No unsolicited material SO WHAT MEDIA & MANAGEMENT 890 W. End Ave., Ste. 1-A New York, NY 10025 212-877-9631 E-mail: sowhatasst@me.com Contact: Lisa Barbaris Styles: rock, pop Clients: Simply Red, Cyndi Lauper, True Colors Tour, Vivian Green, Hunter Valentine *No unsolicited material SPA MUSIC MANAGEMENT, INC. 2 Generations 275 Madison Ave., Ste. 1905 New York, NY 10016 212-661-6990 Cell 917-951-3645 E-mail: aberger@primarywavemusic.com Web: www.2generations.com Contact: Aimee Berger Clients: Matt Stamm, Natascha Sohl, Jeff Stephens, Nicolette Hart, Michael and Marisa Styles: rock, pop, S/S *See web for info STAGE RIGHT TALENT 2141 Pamela St. Oxnard, CA 93036 805-485-5109 Fax 805-485-5108 E-mail: stagerightalent@yahoo.com Web: www.freewebs.com/stageright Contact: Jasmine Spencer Styles: R&B, jazz, gospel, Latin, reggae, reggaeton, soul, pop *Accepts unsolicited material STANN FINDELLE LAW & MANAGEMENT 2029 Century Park E., Ste. 900 Los Angeles, CA 90067 310-552-1777 Fax 310-286-1990 E-mail: perfstanny@aol.com Contact: Stann Findelle Clients: Kenny Sargent, Joe Dallesandro, Speed Freaks, Cosmopolis, Kimmie Heaven, Earthworks Film Styles: all Services: Personal management, legal services *Call for approval before sending material STARKRAVIN’ MANAGEMENT McLane & Wong
Download at www.musicconnection.com/digital 11135 Weddington St., Ste. 424 N. Hollywood, CA 91601 818-587-6801 Fax 818-587-6802 E-mail: bcmclane@aol.com Web: www.benmclane.com Contact: Ben McLane, Esq. Styles: pop, rock, alt. Services: Personal management, legal services *Accepts unsolicited material STERLING ARTIST MANAGEMENT, INC. 11054 Ventura Blvd., Ste. 285 Studio City, CA 91604 818-907-5556 E-mail: mark@sterlingartist.com Web: http://sterlingartist.com/SAM/ Artists.html Contact: Mark Sterling Clients: Mustered Courage, Courtney Jaye, Hope Waits Styles: S/S, Americana, blues Services: Personal management *Inquiry letters accepted STEVEN SCHARF ENTERTAINMENT 126 E. 38th St. New York, NY 10016 212-779-7977 x3905 Fax 212-725-9681 E-mail: sscharf@carlinamerica.com Web: www.stevenscharf.com Contact: Steven Scharf Styles: rock, alt., S/S, hip-hop, world, producers, film & TV composers Clients: Michale Vail Blum, Julius Butty, Shane Faber, Zaine Effendi *No unsolicited material STEVE STEWART MANAGEMENT 12400 Ventury Blvd., #900 Studio City, CA 91604 E-mail: stevestewart@stevestewart.com Web: www.stevestewart.com Contact: Steve Stewart Styles: alt., rock, pop producers, film & TV composers *No unsolicited material STIEFEL ENTERTAINMENT 21731 Ventura Blvd. Ste. 300 Woodland Hills, CA 91364 310-275-3377 Fax 310-271-5175 Contact: Arnold Stiefel Clients: Rod Stewart Styles: rock, pop Services: personal management *No unsolicited material STREET SMART MANAGEMENT 12706 W. Washington Blvd. Los Angeles, CA 90066 E-mail: sara@streetsmartmktg.com Web: www.streetsmartmanagement.com Contact: Sara Kinne Clients: 10 Years, 9Electric, Bob Wayne, Lansdowne, Machine, Mike Watts, Scare Don’t Fear, The Relapse Symphony Styles: rock, metal, indie, pop Services: artist management STREET SMART MARKETING 12706 W. Washington Blvd. Los Angeles, CA 90066 E-mail: contact@streetsmartmktg.com Web: www.streetsmartmktg.com Styles: rock, metal, indie, pop Services: Marketing, Online Marketing & Social Media, Publicity, Web Development, Licensing, Product Management, Photography, Videography, Graphic Design & more SUNCOAST MUSIC MANAGEMENT 9215 Jminez Dr.
Hudson, FL 34669 727-868-3828 Fax 888-727-1698 E-mail: suncoastbooking@aol.com Web: www.suncoastentertainment.biz Contact: Al Spohn Styles: disco, rock, classic rock, variety Clients: Poison’d and Red White and Crue (tributes to Poison and Mötley Crüe package), Hells/Bells (AC/DC Tribute), Battery (Metallica) Paradise City (GNR), Live Bait (Jimmy Buffett & Party Band), Stayin Alive (Bee Gees & 70s Disco), Space Cowboy (Steve Miller Band), Higher Ground (Red Hot Chili Peppers Tribute) *Accepts unsolicited material SUPERVISION MANAGEMENT London, UK Web: www.myspace.com/ supervisionmanagement Clients: Franz Ferdinand, Kaiser Chiefs, The Cribs, Crystal Castles, White Lies Styles: Indie, Rock TAKEOUT MANAGEMENT 1129 Maricopa Hwy, #238 Ojai, CA 93023 805-382-2200 Fax 805-201-7816 E-mail: info@howiewood.com Web: www.howiewood.com Contact: Howard Rosen Clients: Simple Plan, Kanye West, Paula Abdul, CeeLo Green, Norah Jones Styles: All Services: Personal management, shop for distribution and record deals. Production and remix with major producers. SURVIVAL MANAGEMENT 30765 PCH, Ste. 325 Malibu, CA 90265 310-317-9223 E-mail: survivalmgmt1@aol.com Web: survivalmanagementinc.com Contact: Evan Nagorner Styles: rock, hard rock, alt. Clients: Archer, Leslie West, Mountain, The Golden Ghosts, West, Bruce Jr., and Laing *No unsolicited material TED KURLAND ASSOCIATES 173 Brighton Ave. Boston, MA 02134 617-254-0007 Fax 617-782-3577 E-mail: agents@tedkurland.com Web: www.tedkurland.com Contact: Ted Kurland Styles: jazz, blues, vocals Clients: Pat Metheny, Chick Corea, Julian Lage, Ellis Marsalis, Ramsey Lewis, Danilo Perez, Bill Charlap, Wynton Marsalis, Christian McBride, Dee Dee Bridgewater, Ann Hampton Callaway, Stacey Kent, Stanley Clarke, more *No unsolicited material TEN ENTERTAINMENT, INC. 1449 Alteras Cir. Nashville, TN 37211 615-289-2822, Fax 866-230-3942 E-mail: shannon@tenentertainment.com Web: www.tenentertainment.com Contact: Shannon Brown Styles: All Styles Clients: Our Heart’s Hero, Philmont, Shay Watson, Eric Mizelle, Shay Watson, Eric Mizelle *Accepts unsolicited material: e-mail with links to Myspace or other online outlets with your music. Do not e-mail MP3s unless requested. TENTH STREET ENTERTAINMENT 38 W. 21st St., Ste. 300 New York, NY 10010 212-334-3160 E-mail: info@10thst.com
Web: www.10thst.com Contact: Allen Kovac Clients: Motley Crue, Sixx AM, Drowning Pool, Papa Roach, Blondie, Deborah Harry, Crossfade, Eve, Hellyeah, Deuce, Oh No Fiasco, Nico Vega, Five Finger Death Punch Styles: All Services: personal management *No unsolicited material Additional location: 700 San Vicente Blvd, #G410 W. Hollywood, CA 90069 310-385-4700 E-mail: info@10thst.com TG2 ARTISTS P.O. Box 550 Carrboro, NC 27510 919-967-8655 Fax 919-869-2410 E-mail: trish@tg2artists.com Web: www.tg2artists.com Contact: Trish Galfano Styles: folk, bluegrass, jazz, Americana Clients: The John Jorgenson Quartet, Bearfoot, Claire Lynch Band *No unsolicited material THAT’S ENTERTAINMENT INTERNATIONAL, INC. (T.E.I.) 3820 E. La Palma Ave. Anaheim, CA 92807 USA 714-693-9300 Fax 714-693-7963 E-mail: jmcentee@teientertainment.com Web: www.teientertainment.com Contact: John McEntee Styles: All Services: Entertainment broker for corporate/ concert events, personal management *No unsolicited material THREE ARTIST MANAGEMENT c/o Red Light Management 8439 Sunset Blvd. Los Angeles, CA 90069 310-273-2266 E-mail: info@threeam.net Web: www.threeam.net Contact: Richard Bishop Clients: The Crystal Method, Jason Lytle/ Grandaddy, Henry Rollins, Tobias Enhus, Sander Kleinenberg, Tommy Stinson, Static Revenger, DJ Rap, The Art, Film and TV Projects Styles: All Services: personal management, agency *No unsolicited material THREEE Erik Eger Entertainment, Inc. 2906 Rowena Ave. Los Angeles, CA 90039 213-381-5100 Fax 213-381-5115 E-mail: info@erikegerentertainment.com Web: www.erikegerentertainment.com Contact: Erik Eger Styles: All Styles Clients: Rich Costey, Chris Carmouche, Michael H. Brauer, Dan Carey, Stuart Matthewman, Sly and Robbie, John Hill, Chris Coady, Kid Harpoon *We do not accept unsolicited material THUNDERBIRD MANAGEMENT GROUP 133 Industrial Park Rd. Larose, LA 70373 985-798-5665 E-mail: thunderbird@viscom.net Web: http://www.thethunderbird managementgroup.com Contact: Rueben Williams
Styles: all styles *Accepts unsolicited material TKO ARTIST MANAGEMENT 2303 21st Ave. S., 3rd Fl. Nashville, TN 37212 615-383-5017 Fax 615-292-3328 Web: www.tkoartistmanagement.com Contact: T.K. Kimbrell Styles: Country Clients: Mac McAnally, Toby Keith, Carter’s Chord, Chris LeDoux, JT Hodges, Krystal Keith *No unsolicited material TOM CALLAHAN & ASSOCIATES P.O. Box 1960 Manhattan Beach, CA 90267 310-418-1384 E-mail: info@tomcallahan.com Web: www.tomcallahan.com Contact: Tom Callahan Styles: All Services: full-service consulting company, including record promotion, legal services, Internet marketing, web design, retail promotion and publicity. *No unsolicited material TONY MARGHERITA MANAGEMENT E-mail: info@tmmchi.com Web: www.tmmchi.com Contact: Tony Margherita Styles: rock, jazz Clients: Wilco, Glenn Kotche, Jeff Tweedy, Nels Cline, Glenn Kotche, Solid Sound Festival, The Baseball Project, Lucius *No unsolicited material TOURWERKS 1939 Grand Ave., 2nd Lvl. San Diego, CA 92109 858-490-3961 Fax 858-490-3962 E-mail: chris@tourwerks.com Web: www.tourwerks.com Contact: Chris Renzulli Styles: All *Accepts unsolicited material TOWER MANAGEMENT P.O. Box 2435 Hendersonville, TN 37203 615-401-7111, 615-447-3319 E-mail: EdRussell@castlerecords.com Web: www.castlerecords.com Contact: Ed Russell Styles: country, rock, AC, bluegrass, blues Clients: Shara Michelle Austin, Carl Butler, Cody Dooley, Edd Greer, Missy Garnett, Jerry Presley, Eddie Ray II, Jimmy Velvet, Eddie Ray *Accepts unsolicited material TRICK MANAGEMENT UK: +44-208-314-0479 E-mail: ask@trickrmanagement.com Web: www.trickmanagement.com Contact: Roger-UK & Foye-USA Clients: Olfar, Bear Driver, Stewart Agnew, Roger Bechirian Styles: Modern Rock, indie *No unsolicited material TRUE TALENT MANAGEMENT 9663 Santa Monica Blvd., #320 Dept WEB Beverly Hills, CA 90210 310-560-1290 E-mail: mc@truetalentmgmt.com Web: www.truetalentmgmt.com Contact: Jennifer Yeko Clients: Specializing in film/TV placement, radio promotion, music publicity and managing pop/rock/singer-songwriters *Accepts unsolicited material
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Annual Directory of Managers and Booking Agents TUNSTALL MANAGEMENT 1420 Willowbrooke Cir. Franklin, TN 37069 615-376-9880 Fax 615-376-9892 E-mail: tunstallmgnt@comcast.net Contact: Vicki Tunstall Howell Styles: alt., rock, urban, R&B Services: Personal management *No unsolicited material TUSCAN SUN MUSIC Nashville, TN 615-794-0485 E-mail: mgmt@angelica.org Web: www.angelica.org, www.tuscansunmusic.com Contact: Jules Delgado Styles: Ambient, New Age, Inspirational, Pop, Film/TV Clients: Seay, Pat Thomi *No unsolicited material UNION ENTERTAINMENT GROUP, INC. Thousand Oaks, CA 91362 818-879-1770 E-mail: tim@ueginc.com Web: www.ueginc.com Contact: Tim Heyne, Bryan Coleman Clients: Nickelback, Kevin Costner & Modern West, Dallas Smith, Tom Kelfer Styles: Rock Services: personal management *No unsolicited material VARRASSO MANAGEMENT P.O. Box 387 Fremont, CA 94537 510-792-8910 E-mail: richard@varrasso.com Web: www.varrasso.com Contact: Richard Varrasso Styles: rock, covers, country Clients: Eddie Money, Tom Wurth, The HazeXperience, Ira Walker *Accepts unsolicited material VECTOR MANAGEMENT P.O.Box 120479 Nashville, TN 37212 615-269-6600 E-mail: info@vectormgmt.com Web: vectormgmt.com Contact: Ken Levitan Styles: country, pop, S/S *No unsolicited material VELVET HAMMER MANAGEMENT 9911 W. Pico Blvd., Ste. 350 W. Los Angeles, CA 90035 310-657-6161 E-mail: info@velvethammer.net Web: www.velvethammer.net Clients: System of a Down, Alice in Chains, the Deftones, Cypress Hill, Battle Lines Specialties: All *Accepts unsolicited material WANTED MANAGEMENT E-mail: wantedgregg@gmail.com Styles: rock, pop, punk, soul Services: personal management *No unsolicited material WARREN ENTNER MANAGEMENT 818-763-4422 E-mail: wentner@mac.com Contact: Warren Entner Clients: Faith No More, Biffy Clyro Styles: rock, alt. Services: Personal management *No unsolicited material SHELLIE WILKINSON Artist Management 805-689-7917 E-mail: shellie@lwmediarelations.com Clients: Matt Kennon, Maren Morris, Ryan Broshear, Brant Cotton, The DTease, The Earps, False Puppet, Scott McKain, Greg Ginn, Wilson Gil & the Willful Sinners WOLFSON ENTERTAINMENT, INC. 22201 Ventura Blvd., Ste. 207 Woodland Hills, CA 91364 818-615-0499 Fax 818-615-0498 E-mail: info@wolfsonent.com Contact: Jonathan Wolfson, Dillon Barbosa Web: http://www.wolfsonent.com Styles: All Clients: Daryl Hall & John Oates, Loverboy Services: Personal management. Also offers full-service media relations for management clients. WORLDSOUND 17837 1st Ave. S., Ste. 3 Seattle, WA 98148-1728 206-444-0300 E-mail: warren@worldsound.com Web: www.worldsound.com Contact: Warren Wyatt Styles: rock, world, Celtic, folk, pop Clients: Na Leo, Keith Olsen, Anuhea Services: personal management, consulting *See website for submission information
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Additional location: 150 Hamakua Dr., Ste. 700 Kailua, HI 96734 808-262-6300 Fax 808-822-9609 YES, DEAR ENTERTAINMENT 2265 S. Beverly Glen Blvd., #204 Los Angeles, CA 90064 310-203-9007 E-mail: lapersdev@yahoo.com Web: www.yesdearent.com Contact: Mike Gormley, Jolene Pellant, Asst. Tammy Priess Clients: Simon Lynge, Ronny Cox, Ben Arthur Styles: All Services: full-service including marketing and consultancy *No unsolicited material ZADA MANAGEMENT 11732 Kiowa Ave. Los Angeles CA 90049 310-597-1882 E-mail: abbaj12@aol.com Contact: Jack Styles: All Services: Personal management *Accepts unsolicited promotional packages
BOOKING AGENTS
1ST TOTAL MUSIC POWER Los Angeles, CA 323-650-9400 E-mail: aaron@totalmusicpower.com Web: www.totalmusicpower.com Contact: Aaron Styles: rock, jazz, alt, film, all Clients: Aaron Wolfson, Mercedes, the Broadcasters Services: Corporate events, concerts, private parties, recording sessions, producers, film/TV music (all). *Communicate your request first. 25 LIVE 24 Music Sq.W. Nashville, TN 37203 615-777-2227 E-mail: david@25ent.com Web: www.25ccm.com Contact: David Breen Styles: Christian *No unsolicited material ACA MUSIC & ENTERTAINMENT 1025 S. Moorland, #505 Brookfield, WI 53005 800-279-7909, 262-790-0060 Fax 262-790-9149 E-mail: louie@acaentertainment.com Web: www.acaentertainment.com Contact: Louie Higgins Styles: variety, bluegrass, bands, lounge acts, nostalgia, DJs, club, festival bands, ceremony, dinner hour, cocktail Services: Represents nightclub & acts for private functions, not currently seeking new clients *Accepts unsolicited material ACT 1 ENTERTAINMENT P.O. Box 1079 New Haven, CT 06504 203-785-8338 Fax 203-865-9867 E-mail: actonect@aol.com Web: www.act1ent.com Contact: Martha Martin Styles: rock & roll, blues, acoustic, swing, folk, Caribbean Services: mostly books acts for parties/events Clients: info upon request *Accepts unsolicited material Additional locations: Stonington, CT 860-535-0052 Carmela Congdon Newington, CT 732-690-4437 Michael Donaghey Boca Raton, FL / Charlotte, NC Dave Coviello 561-251-7338 Westport, CT 203-376-2636 John Paolillo ACTS NASHVILLE 1103 Bell Grimes Ln. Nashville, TN 37207 615-254-8600 E-mail: actsnashvilleinfo@gmail.com Web: www.actsnashville.com Contact: Lee Shields Styles: country, rock, nostalgia & variety only Clients: info upon request *No unsolicited material
AGENCY FOR THE PERFORMING ARTS (APA) 405 S. Beverly Dr. Beverly Hills, CA 90212 310-888-4200 Fax 310-888-4242 Web: www.apa-agency.com Contact: Jon Moore Styles: All *Call before submitting material Additional locations: 45 W. 45th St., 4th Fl. New York, NY 10036 212-687-0092 Fax 212-687-0176 3010 Poston Ave. Nashville, TN 37203 615-297-0100 Fax 615-297-5434 AGENCY GROUP, THE 1880 Century Park E., Ste. 711 Los Angeles, CA 90067 310-385-2800 Fax 310-385-1220 Web: www.theagencygroup.com Clients: See site for a list *No unsolicited material Additional locations: New York, NY 142 W. 57th St. - 6th Fl. New York, NY 10019 212-581-3100 Fax 212-581-0015 Nashville, TN 209 10th Ave. S. Ste. 337 Nashville, TN 37203 615-564-2580 Fax 615-564-2585 Canada 2 Berkeley Street, Suite 202 Toronto, Ontario, Canada M5A 4J5 416-368-5599 Fax 416-368-4655 UK 361-373 City Road London, EC1V 1PQ United Kingdom +44-207-278-3331 Sweden Vastergatan 23 211 21 Malmo +46-40-0976250 A&M ENTERTAINMENT 13280 N.W. Fwy., Ste. F-328 Houston, TX 77040 713-970-1015 E-mail: keetria@amentertainment.com Web: www.amentertainment.com Contact: Keetria Gardner-Chamber Styles: All Styles Clients: info upon request *No unsolicited material Additional locations: Los Angeles 8605 Santa Monica Blvd. W. Hollywood, CA 90069 310-295-4150 New York City 228 Park Ave., S. New York, NY 10003 212-461-4796 AMERICAN ARTISTS 315 S. Beverly Dr., Ste. 300 Beverly Hills, CA 90212 310-277-7877 E-mail: mike@americanartists.net Web: www.americanartists.net Contact: Michael Weinstein Styles: rock, classic rock, country, R&B, swing Clients: info upon request *No unsolicited material A.M. ONLY 55 Washington St., Ste. 658 Brooklyn, NY 11201 718-237-2428 E-mail: info@amonly.com Web: www.amonly.com Contact: Paul Morris Styles: rock, hip-hop, electronica, industrial Clients: info upon request *No unsolicited material Additional location: 6725 Sunset Blvd., Ste. 230 Los Angeles, CA 90028 718-237-2428 ARTIST REPRESENTATION & MANAGEMENT 1257 Arcade St. St. Paul, MN 55106 651-483-8754 Fax 651-776-6338 E-mail: molly@armentertainment.com Web: www.armentertainment.com
Contact: John Domagall Styles: specializes in ‘80s-early ‘90s rock, country, blues, metal Clients: info upon request *No unsolicited material BACKSTREET BOOKING 700 W. Pete Rose Way, Ste. 390, POB 18 Cincinnati, OH 45203 513-442-4405 E-mail: info@backstreetbooking.com Web: www.backstreetbooking.com Contact: Jim Sfarnas Styles: progressive fusion, jazz, rock, jam, metal Clients: info upon request *No unsolicited material BBA MANAGEMENT & BOOKING 512-477-7777 Web: www.bbabooking.com Styles: jazz, Latin, rock, classical S/S, *No unsolicited material BIG BEAT 1515 University Dr., Ste. 102 Coral Springs, FL 33071 954-755-7759 E-mail: rlloyd@bigbeatproductions.com Web: www.bigbeatproductions.com Contact: Richard Lloyd Styles: all styles Clients: info upon request *Accepts unsolicited material BILL HOLLINGSHEAD PRODUCTIONS, INC. 1010 Anderson Rd. Davis, CA 95616 530-758-9779 Fax 530-758-9777 E-mail: bhptalent@aol.com Web: www.bhptalent.com Contact: Bill Hollingshead Styles: California surf music, classic ‘50s/‘60s rock *No unsolicited material BOBBY ROBERTS COMPANY, THE P.O. Box 1547 Goodlettsville, TN 37070 615-859-8899 Fax 615-859-2200 E-mail: brian@bobbyroberts.com Web: www.bobbyroberts.com Contact: Brian Jones Styles: mostly country, some pop & rock Clients: info upon request *No unsolicited material BOOKING ENTERTAINMENT 275 Madison Ave., 6th Fl. New York, NY 10016 1-800-4ENTERTAINMENT 212-645-0555 E-mail: steve@bookingentertainment.com Web: www.bookingentertainment.com Contact: Steve Einzig Styles: rock, pop, jazz, adult contemporary, pop, R&B Clients: info on website. *No unsolicited material BUDDY LEE ATTRACTIONS 38 Music Sq. E., Ste. 300 Nashville, TN 37203 615-244-4336 Web: www.buddyleeattractions.com Contact: Kevin Neal Styles: Country, rock, pop, bluegrass *Accepts unsolicited material See website for other locations CANTALOUPE MUSIC PRODUCTIONS Ellen Azorin, President 157 W. 79th St., Ste. 4A New York, NY 10024 212-724-2400 E-mail: management@cantaloupeproductions.com Web: www.cantaloupeproductions.com Clients: see website Styles: Booking agent specializing in Brazilian, Argentine, Cuban and other Latin music, as well as other world music and top level jazz ensembles. *Does not accept unsolicited material CELEBRITY TALENT AGENCY INC. 111 E. 14th St., Ste. 249 New York, NY 10003 212-539-6039, 201-837-9000, 201-678-9222 E-mail: markg@celebritytalentagency.com Web: www.celebritytalentagency.com Contact: Mark Green Styles: jazz, R&B, hip-hop, comedians, gospel Clients: info upon request *No unsolicited material BRUCE COLFIN LAW, PC 1178 Broadway, Ste. 312 New York, NY 10001 212-691-5630 E-mail: thefirm@thefirm.com Web: www.thefirm.com
Download at www.musicconnection.com/digital Contact: Bruce E. Colfin Styles: rock, blues, world, reggae Clients: Dark Star Orchestra, Mick Taylor, Sly & Robbie, Marty Balin, Freddie McGregor, Niney the Observer, Bernard Purdie *Accepts unsolicited material - Submit material w/ a S.A.S.E. & proper postage for return CIRCLE TALENT AGENCY 5900 Wilshire Blvd., Ste. 2200 Los Angeles, CA 90036 323-424-4970 Fax 323-424-4976 Web: http://circletalentagency.com Contact: Various, see web COAST TO COAST MUSIC PO Box 18334 Encino, CA 91416 818-376-1380 E-mail: ccmusicbooking@yahoo.com Web: http://positivemusicprograms.com Contact: Chris Fletcher COLLIN ARTISTS Pasadena, CA 91104 323-467-4702, 323-556-1046 E-mail: collinartists@gmail.com Web: www.collinartists.com Contact: Barbara Collin, Robert Sax, Goh Kurosawa Styles: jazz, blues, world, Latin, R&B, doo wop/classics and beyond Clients: Mary Stallings, Jeri Brown, Carmen Lundy, Kevin Mahogany, Andy Bey, Alan Paul, Latin Jazz Masters, Bobbi Humphrey, Kathy Kosins and more Services: management, promotion, consulting, booking, workshops *No unsolicited material CONCERTED EFFORTS, INC. P.O. Box 440326 Somerville, MA 02144 617-969-0810 Fax 617-209-1300 E-mail: concerted@concertedefforts.com Web: www.concertedefforts.com Contact: Paul Kahn Styles: blues, soul, jazz, gospel, zydeco, Cajun, folk, S/S, rock, world Clients: info upon request *No unsolicited material CREATIVE ARTISTS AGENCY 2000 Ave. of the Stars Los Angeles, CA 90067 424-288-2000 Fax 424-288-2900 Web: www.caatouring.com Styles: All *No unsolicited material - No phone calls Additional locations: New York 212-277-9000 Nashville 615-383-8787 London +020-8846-3000 DALE MORRIS & ASSOCIATES MORRIS ARTIST MANAGEMENT 818 19th Ave. S. Nashville, TN 37203 615-327-3400 Fax 615-327-0312 Web: www.dalemorrismgt.com Styles: Country Clients: Kenny Chesney, Martina McBride, Louise Mandrell, Big and Rich, Blaine Larson, Jake Owen, Andy Gibson *No unsolicited material
DAVIS MCLARTY AGENCY 708 S. Lamar Blvd., Ste. D Austin, TX 78704 512-444-8750 Fax 512-416-7531 E-mail: info@davismclarty.com Web: www.davismclarty.com Contact: Davis McLarty Styles: alt. country, roots, blues, Americana Clients: info upon request *No unsolicited material D. BAILEY MANAGEMENT 15100 Hutchison Rd., Ste. 111 Tampa, FL 33625 813-960-4660 Fax 813-960-4662 E-mail: dennis@dbaileymanagement.com, liza@dbaileymanagement.com Web: www.dbaileymanagement.com Contact: Dennis Bailey or Liza Saturday Styles: pop, R&B, top 40, rock, variety Clients: info upon request *No unsolicited material EAST COAST ENTERTAINMENT Offices in North Carolina, South Carolina, Virginia, Georgia 855-323-4386 Web: www.eastcoastentertainment.com Styles: rock, acoustic, classical, latin, jazz, pop, R&B, funk *No unsolicited material See website for additional locations ELECTRIC EVENTS CORPORATION P.O. Box 280848 Lakewood, CO 80228 303-989-0001 Fax 303-989-0037 E-mail: talktome@electricevents.com Web: www.electricevents.com Contact: Michael A. Tolerico Styles: pop cover bands only Clients: info upon request *No unsolicited material ENTERTAINMENT SERVICES INTERNATIONAL 6400 Pleasant Park Dr. Chanhassen, MN 55317 952-470-9000 Fax 952-474-4449 E-mail: randy@esientertainment.com Web: www.esientertainment.com Contact: Randy Erwin Styles: mostly classic rock Clients: info upon request *No unsolicited material ENTOURAGE TALENT ASSOCIATES 236 W. 27th St., 8th Fl. New York, NY 10001 212-633-2600 Fax 212-633-1818 E-mail: administration@entouragetalent.com Web: www.entouragetalent.com Contact: Wayne Forte Styles: rock, pop, S/S, jazz Clients: info upon request *No unsolicited material FAT CITY ARTISTS 1906 Chet Atkins Pl., Ste. 502 Nashville, TN 37212 615-320-7678 Fax 615-321-5382 Web: www.fatcityartists.com Styles: nostalgia, country, big band, bluegrass, blues, R&B, Cajun, world, folk, funk, gospel, jazz *NO Rap or Opera Clients: info upon request *No unsolicited material FLEET TEAM BOOKING 1808 S. Carpenter St. Chicago, IL 60608 312-455-1350 Fax 773-442-0224
E-mail: scott@fleetteambooking.com Web: www.fleetteambooking.com Contact: Scott Comeau Styles: punk, indie rock, hip-hop Clients: info upon request *No unsolicited material FORSYTH AGENCY 412-251-5841 Fax 412-586-7962 E-mail: scott@forsythagency.com Web: www.forsythagency.com Contact: Scott Forsyth Clients: info upon request *No unsolicited material GORFAINE-SCHWARTZ AGENCY 4111 W. Alameda Ave., Ste. 509 Burbank, CA 91505 818-260-8500 E-mail: reception@gsamusic.com Web: www.gsamusic.com Clients: see our website for client list *No unsolicited material GREAT AMERICAN TALENT P.O. Box 2476 Hendersonville, TN 37077 615-452-7878 E-mail: info@gatalent.com Web: www.gatalent.com Styles: country, Cajun Clients: info upon request *No unsolicited material HARMONY ARTISTS INC. 6399 Wilshire Blvd., Ste. 914 Los Angeles, CA 90048 323-655-5007 Fax 323-655-5154 E-mail: acrane-ross@harmonyartists.com Web: www.harmonyartists.com Contact: Adrienne Crane-Ross Styles: tribute, nostalgia, R&B, Latin, blues, bluegrass, jazz, swing *No unsolicited material HELLO! BOOKING P.O. Box 18717 Minneapolis, MN 55418 651-647-4464 E-mail: Eric@hellobooking.com Web: www.hellobooking.com Contact: Eric Roberts Styles: bluegrass, country, rock, folk, pop, jazz, indie, hip-hop, acoustic, rockabilly Clients: info upon request *Accepts unsolicited material HIGHWAY KEY TOURING & PROMOTION 704-399-2210 E-mail: hwykeyt@gmail.com Web: www.hwykey.com Contact: Casey Scott Styles: blues, roots, rock, alt. country, folk Clients: info upon request *No unsolicited material INA DITTKE & ASSOCIATES 770 N.E. 69th St., Ste. 7C Miami, FL 33138 305-762-4309 E-mail: ina@inadittke.com Web: www.inadittke.com Contact: Ina Dittke Styles: jazz, Latin, world Clients: info upon request INTERNATIONAL CREATIVE MANAGEMENT (ICM) 10250 Constellation Blvd. Los Angeles, CA 90067 310-550-4000 Web: www.icmtalent.com
Styles: All *No unsolicited material Additional locations: 730 Fifth Ave. New York, NY 10019 212-556-5600 3rd Fl., Marlborough House 10 Earlham St. London, WC2H, 9LN, England +44.0.20.7836.8564 IN TOUCH ENTERTAINMENT 5 Columbus Circle, 8th Fl. New York, NY 10019 212-714-7722 Fax 212-202-7579 E-mail: info@intouchhome.com Web: www.intouchhome.com Contact: Charles Carlini Styles: All Styles Clients: Tori Beaumont, Irene Cara, Michael Carvin, Ariadna Castellanos, Eguie Castrillo, Brian Charette, David Chesky, Suzanne Ciani, Theo Croker, Pino Daniele, Eumir Deodato, Eldar Djangirov *Accepts unsolicited material - via SonicBids only JAM ENTERTAINMENT AND EVENTS 2900 Bristol St., Ste. A - 208 Costa Mesa, CA 92626 714-556-6000 E-mail: dennis@jamentertainment.com Web: www.jamentertainment.com *Accepts unsolicited COVER material JEFF ROBERTS & ASSOCIATES 3050 Business Park Cir., Ste. 301 Goodlettsville, TN 37072 615-859-7040 Fax 615-851-7023 Web: www.jeffroberts.com Contact: Jeff Roberts Clients: info upon request *No unsolicited material KEITH CASE & ASSOCIATES 1025 17th Ave. S., 2nd Fl. Nashville, TN 37212 615-327-4646 Fax 615-327-4949 E-mail: keith@keithcase.com Web: www.keithcase.com Styles: bluegrass, roots, folk, S/S Clients: info upon request *No unsolicited material KENMORE AGENCY, THE 1032 W 18th St., Ste. 3A Costa Mesa, CA 92627 714-642-3329 E-mail: info@thekenmoreagency.com Web: www.thekenmoreagency.com Styles: rock, punk, metal, indie rock, hip-hop, electronic Clients: info upon request *No unsolicited material Additional location: P.O. Box 10744 Portland, ME 04104 207-358-8140 E-mail: info@thekenmoreagency.com LIVE NATION Beverly Hills, CA 800-653-8000 Web: www.livenation.com Styles: All Styles Services: producing, marketing and selling live concerts for artists LUTHER WOLF, LLC P.O. Box 162078
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Annual Directory of Managers and Booking Agents Austin, TX 78716-2078 512-448-3065 Fax 512-448-3067 E-mail: wayne@lutherwolf.com Web: www.lutherwolf.com Contact: Wayne Nagel Styles: rock, blues Clients: info upon request *No unsolicited material
Woodland Hills, CA 91365 818-888-7879 E-mail: information@musicianscontact.com Web: www.musicianscontact.com Contact: Sterling Howard Styles: All, originals or covers Services: Established 40 years as a referral service between musicians and employers
MARSJAZZ BOOKING AGENCY 1006 Ashby Pl. Charlottesville, VA 22901 434-979-6374 E-mail: reggie@marsjazz.com Web: www.marsjazz.com Contact: Reggie Marshall Styles: jazz Clients: info upon request *No unsolicited material
MUSIC TREE ARTISTS MANAGEMENT 1414 Pennsylvania Ave. Pittsburgh, PA 15233 412-323-2707 Fax 412-323-1817 E-mail: george@music-tree.com Web: www.music-tree.com Styles: Folk, Americana, Celtic, Bluegrass, Old Time, World Clients: info upon request *No unsolicited material
MAULDIN BRAND AGENCY 1280 W Peachtree St., Ste. 300 Atlanta, GA 30309 404-733-5511 Fax 404-733-5512 E-mail: info@mauldinbrand.com Web: www.mauldinbrand.com Styles: urban, pop, hip-hop, R&B Clients: info upon request *No unsolicited material
MUSTANG AGENCY 6119 Greenville Ave., Ste. 361 Dallas, TX 75206 214-257-0971, 888,480-3650 E-mail: booking@mustangagency.com Web: www.mustangagency.com Contact: Don Brooks Styles: rock, country, pop, metal, pop/punk, alt., classic rock Clients: info upon request *No unsolicited material
MAURICE MONTOYA MUSIC AGENCY 11 Island Ave., Ste. 1711 Miami, FL 33139 305-763-8961, 212-229-9160 E-mail: info@mmmusicagency.com Web: www.mmmusicagency.com Contact: Maurice Orlando Montoya Styles: jazz, Afro-Cuban, Brazilian, contemp./ pop Clients: info upon request *No unsolicited material MICHAEL KLINE ARTISTS, LLC P.O. Box 312 Cape May Point, NJ 08212 609-884-5986 E-mail: info@michael klineartists.com Web: http://michaelklineartists.com Clients: info on request M.O.B. AGENCY 6404 Wilshire Blvd., Ste. 505 Los Angeles, CA 90048 323-653-0427 E-mail: Mitch@mobagency.com Web: www.mobagency.com Contact: Mitch Okmin Styles: rock, alt. Clients: info upon request *No unsolicited material MONQUI EVENTS P.O. Box 5908 Portland, OR 97228 503-223-5960 E-mail: web@monqui.com Web: www.monqui.com Styles: alt., rock, indie rock, pop, country *No unsolicited material MONTEREY INTERNATIONAL 200 W. Superior, Ste. 202 Chicago, IL 60654 312-640-7500, Fax 312-640-7515 E-mail: ron@montereyinternational.net Web: www.montereyinternational.net Contact: Ron Kaplan Styles: blues, jazz, world, rock, pop, Latin, alt, R&B Clients: info upon request *No unsolicited materia Additional location: POB 297 Carmel-by-the-Sea, CA 93921 831-625-6300 Fax 831-625-6335 MUSIC CITY ARTISTS 116 Wilson Pike Cir., Ste. 240 Brentwood, TN 37027 615-266-6223 E-mail: info@musiccityartists.com Web: www.musiccityartists.com Contact: Charles Ray, President/Agent Styles: AC, country, oldies, musicals, tribute, comedy, music Clients: info upon request *No unsolicited material MUSIC GROUP ENTERTAINMENT LLC 5001 5th St., N.W. Washington, CA 2001 Celebrity Booking Agency 300 Available Acts 404-822-4138 E-mail: bookings@mgentonline.com Contact: Mya Richardson Styles: neo soul, R&B, pop, rock, country, jazz, alt, dance, reggae, calypso, dance hall, comedy actors *No unsolicited material - not accepting hiphop demos MUSICIANS CONTACT P.O. Box 788
66 March 2014
NANCY FLY AGENCY P.O. Box 90306 Austin, TX 78709 512-288-2023 E-mail: nfly@nflyagency.com Web: www.nflyagency.com Contact: Nancy Fly Styles: Americana, traditional, roots rock, blues, world Clients: info upon request *No unsolicited material NIGHTSIDE ENTERTAINMENT 10 Crabapple Ln. Greenville, RI 02828 401-949-2004 E-mail: contact@nightside entertainment.com Web: www.nightsideentertainment.com Contact: Al Salzillo Styles: All Styles Clients: info upon request *No unsolicited material OLYMPIC PRODUCTIONS ED HARTMAN MUSIC 4501 Interlake Ave. N., Ste. 7 Seattle, WA 98103 206-634-1142 E-mail: edrums@aol.com Web: http://www.edhartmanmusic.com/contact Contact: Ed Hartman Styles: rock, pop, urban, jazz, Latin, Caribbean, world Clients: info upon request *Does not Accept unsolicited material OZARK TALENT 718 Schwarz Rd. Lawrence, KS 66049 785-760-3143 E-mail: ozarktalent@gmail.com Web: savoybrown.com, wishboneash.com, wcclark.com Contact: Steve Ozark Styles: All Styles Clients: Savoy Brown, Wishbone Ash, W.C. Clark *Accepts unsolicited material PACIFIC TALENT P.O. Box 19145 Portland, OR 97280 503-228-3620 E-mail: andy@pacifictalent.com Web: www.pacifictalent.com Contact: Andy Gilbert Styles: jazz, blues, R&B, rock, funk, disco - everything Clients: info upon request *Accepts unsolicited material
PROGRESSIVE GLOBAL AGENCY P.O. Box 50294 Nashville, TN 37205 615-354-9100 E-mail: jennifer@pgamusic.com Web: www.pgamusic.com Contact: Jennifer Fowler Styles: rock, pop, world Clients: info upon request *No unsolicited material PYRAMID ENTERTAINMENT GROUP 377 Rector Pl., Ste. 21-A New York, NY 10280 212-242-7274 E-mail: smichaels@pyramid-ent.com Web: www.pyramid-ent.com Contact: Sal Michaels Styles: urban, jazz, gospel, classic & contemporary R&B, funk, hip-hop Clients: info upon request *No unsolicited material RED ENTERTAINMENT AGENCY 505 8th Ave., Ste. 1004 New York, NY 100018 212-563-7575 E-mail: info@redentertainment.com Web: www.redentertainment.com Contact: Carlos Keyes Styles: rock, funk, jazz, gospel, R&B, pop, Latin, hip-hop Clients: Dionne Warwick, Chaka Khan, Gloria Gaynor, Sister Sledge, JT Taylor formerly of Kool & the Gang, K-Ci & JoJo, Belinda Carlisle, The Human League, Charlie Wilson, Hugh Cornwell *No unsolicited material RED RYDER ENTERTAINMENT 1532 N Milwaukee Ave., Ste. 207 Chicago, IL 60622 773-384-0050 E-mail: info@rryder.com Web: www.rryder.com Contact: Eric Selz Styles: rock, jazz, indie rock, folk, world Clients: info upon request *No unsolicited material THE ROSEBUD AGENCY P.O.Box 170429 San Francisco, CA 94117 415-386-3456 E-mail: mikek@rosebudus.com Contact: Mike Kappus Web: www.rosebudus.com Styles: funk rock, singer/songwriter Clients: Trombone Shorty & Orleans Avenue *No unsolicited material SELAK ENTERTAINMENT 1220 Lida St. Pasadena, CA 91103 626-584-8110 Fax 626-584-8122 E-mail: steve@selakentertainment.com Web: www.selakentertainment.com Contact: Steve Selak Clients: ABC TV, Affinity Events, Aligator Pear Events, Ameristar Casinos, APA Agency, Beverly Hills Hotel, Budweiser, CAA Agency, Capital One Credit Card Company, CBS TV, Columbia Pictures, EA Sports, Fox Sports, Major League Baseball, MTV, NBA, NFL, NBC TV, Paramount Pictures, Universal Pictures, Walt Disney Pictures, Warner Brothers, William Morris Agency *no unsolicited material
Contact: Marc Katz Styles: pop, R&B, dance, hiphop, theatrical Clients: info upon request *No unsolicited material STEINER TALENT BOOK THE BEST 813 N. Boonville Ave., 2nd Fl. Springfield, MO 65804 417-889-9909 E-mail: ask@steinertalent.com Web: www.bookthebest.com Contact: Mark Steiner Styles: All styles *No unsolicited material Additional location: 225 S. Water St. Chandlerâ&#x20AC;&#x2122;s Wharf Wilmington, NC 28401 866-788-4447 TEMPEST ENTERTAINMENT 245 W. 25th St., Ste. 3B New York, NY 10001 212-645-1702 E-mail: lian@tempestentertainment.com, leticia@tempestentertainment.com Web: www.tempestentertainment.com Contact: Lian Calvo Serrano Clients: info upon request *No unsolicited material THIRD COAST TALENT P.O. Box 334 Kingston Springs, TN 37082 615-685-3331 E-mail: generalinformation@thirdcoasttalent.com Web: www.thirdcoasttalent.com Styles: Country Clients: see website for complete roster *No unsolicited material UNCLE BOOKING 5438 Winding Way Dr. Houston, TX 77091 713-688-4854 Fax 713-681-5260 E-mail: erik@unclebooking.com Web: www.unclebooking.com Clients: Kevin Barnes, Bottomless Pit, CEX, Citay, the Coke Dares, Danielson, Deerhoof, Southest Engine, Trans Am *No unsolicited material UNIVERSAL ATTRACTIONS AGENCY. 135 W. 26th St. 12th Fl. New York, NY 10001 212-582-7575 x106 Fax 212-333-4508 E-mail: info@universalattractions.com Web: www.universalattractions.com Contact: Nick Martucci Styles: All Clients: info upon request *No unsolicited material VARIETY ARTISTS INTERNATIONAL 1924 Spring St. Paso Robles, CA 93446 805-545-5550 Fax 805-545-5559 E-mail: john@varietyart.com, bob@varietyart. com, lloyd@varietyart.com, zach@varietyart.com Web: www.varietyart.com Contact: Bob Engel, John Harrington, Lloyd St. Martin, Zach Mullinax Styles: rock, folk, pop, rap, jazz, oldies Clients: info upon request *No unsolicited material WALKER ENTERTAINMENT GROUP P.O.Box 7827 Houston, TX 77270 281-431-9393 Fax 713-776-2157 Web: www.walkerentertainmentgroup.com Contact: Ernest Walker, President/CEO *No unsolicited material
THE PANTHEON AGENCY 10866 Wilshire Blvd., Ste. 700 Los Angeles, CA 90024 424-832-7275, Fax 424-221-5500 Contact: Matt Anderson E-mail: matt@thepantheonagency.com Web: http://thepantheonagency.com Styles: Talent and Literary
SELF GROUP, LLC, THE P.O. Box 14721 Portland, OR 97293 E-mail: info@selfgroup.org Web: www.selfgroup.org Contact: Krist Krueger Styles: indie, rock, folk, acoustic, experimental, pop Clients: info upon request *No unsolicited material
WILLIAM MORRIS AGENCY 9601 Wilshire Blvd. Beverly Hills, CA 90210 310-285-9000 Fax 310-285-9010 Web: www.wma.com Styles: All *No unsolicited material **No phone calls
PARADISE ARTISTS 108 E. Matilija St. Ojai, CA 93023 805-646-8433 E-mail: howie@paradiseartists.com Web: www.paradiseartists.com Contact: Howie Silverman Styles: rock, pop, alt., legends Clients: info upon request *No unsolicited material
SMC ARTISTS 4400 Coldwater Canyon, Ste. 127 Studio City, CA 91604-5038 818-505-9600 E-mail: ovavrin@smcartists.com Web: www.smcartists.com Contact: Otto Vavrin II Styles: Film & TV composers Clients: info upon request *No unsolicited material
1325 Ave. of the Americas New York, NY 10019 212-586-5100 Fax 212-246-3583
Additional location:
SPECTRUM TALENT AGENCY 212-268-0404 Fax 212-268-1114 E-mail: marc@spectrumtalentagency.com Web: www.spectrumtalentagency.com
New York 212-879-5900
musicconnection.com
PIEDMONT TALENT P.O. Box 680006 Charlotte, NC 28216 704-399-2210 E-mail: lori@piedmonttalent.com Web: www.piedmonttalent.com Contact: Lori Haynes Styles: acoustic, world, jazz, blues Clients: info upon request *No unsolicited material
Additional locations:
119 Washington Ave., Ste. 400 Miami Beach, FL 33139 305-938-2000 Fax 305-938-2002 1600 Division St., Ste. 300 Nashville, TN 37203 615-963-3000 Fax 615-963-3090
March 2014
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68 March 2014
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– NICHOLAS MASON
Be a Professional in 6 Easy Steps B
eing a professional doesn’t always mean that playing music is your day job. Yes, by definition being a pro is just that, but there are many ways to still be taken seriously in your music career while holding down a nine-to-five. In fact, many pros often have a little something on the side to keep the wheels moving once the bus stops. For some it’s out of necessity; today’s economy doesn’t allow top salaries for everyone in the biz. For others it keeps them grounded. I know a few guys you wouldn’t think need a day job, considering their career highlights; however, they jump into day jobs in between tours just to fuel a passion for something other than music. The goal here is simple––to help you maintain a professional attitude and to be taken seriously, even though you may not be making millions by stepping out on stage.
JODY DOMINGUE
1. Keep yourself grounded. Maintaining a professional attitude is the most important thing. In an art form such as music, you will need to invest a great amount of emotion and care into your craft. You will have to be open to suggestion and, sometimes, criticism. Keep your expectations realistic when entering new situations, be it working with a new artist or band for the first time, or even walking into a venue you haven’t played before. I’ve done shows that have lavish backstage accommodations, but it doesn’t mean I walk into every gig thinking I’ll get that. Keep yourself grounded!
3. Be Reliable. Communication is a topic I love talking about. Let me just put it bluntly: DON’T BE A FLAKE! It’s really easy to ignore calls, texts and emails, or make plans and slowly drift off to neverland without a word to others. It is also super unprofessional. Anyone who doesn’t take the time to get back to you isn’t serious. And it may seem old fashioned, but the phone is still the most professional way to conduct business. If you have the option, always call before sending an email or a text. 4. Set Yourself Up As A Business. You don’t need to run out and get a DBA, but it does mean you should establish the amenities common in musicconnection.com
5. Only Release Your Highest Quality Material. Content. Even with a web presence, business cards and veteran attitude, you’re going nowhere if the quality of your presentation is poor. Don’t ever publish songs that are only demo quality. Anything you put out for the public ear needs to be of the highest quality you can get. No, you don’t need to rent a lavish studio, but a basement recording made with only one mic isn’t going to cut it. The same goes for videos, photos and even your web layouts. It is true that with the access the general public has via social media, some less than flattering or amateur content can surface. I wouldn’t suggest you try to stop it, but you certainly don’t have to promote the shaky smartphone video a fan posted from your last gig. When someone hires me, and they ask me to learn music they have made available online, I expect it to be the same audio quality I hear on the radio.
“If rehearsal is at noon and you show up at noon, you’re late!”
2. Always move forward. Don’t let your ego get the best of you. After spending hours upon hours perfecting your craft and years building an impressive résumé, it can all be shattered by a single phrase: “It’s not working out” or “We are going in another direction.” It could also be no words at all, the simple lack of an email or phone call. Any way it comes, it hurts. Your ego’s first reaction will always be “F YOU!,” but you’d be better off taking responsibility for yourself, your actions and reaction, and move forward. Taking responsibility doesn’t mean that when someone criticizes you, you are in fact inferior or not good enough. It simply means that you can only move in one direction from that point. “Okay, that didn’t work out, what’s next?”
70 March 2014
today’s industry. The easiest is social media. It’s free and user-friendly and they can all be linked together. I can update one account from my phone and it automatically sends the same update to all of my other social media outlets. An actual dot com website is also a must, though with the way social networking has moved the industry you can almost treat your website as a digital business card. Just offer some important information about yourself as an artist or band, nothing that needs to be constantly maintained. Again, through the magic of social media, all your website updates can be done remotely though other sites. I keep my Twitter feed on my home page for news updates, and all my Interpol Performing at other pages (music, Coachella 2011 videos, tour dates, etc.) are automatically updated with widgets from ReverbNation. Business cards may seem like something from a presmartphone era, but handing out a card is still a great way to personally connect with someone and show that you’re a pro.
6. Show Up Early, Not On Time. This may seem like common sense, but you would be surprised how often I run into situations like this due to musicians who are supposed to be professionals. If you walk into an audition, rehearsal, gig—basically any situation––take the time to really learn the material. If it’s something you aren’t provided enough prep time with, make notes and charts. Show up early, not on time. If rehearsal is at noon and you show up at noon, you’re late! Bring extras; I always carry a tool box of emergency trinkets. It might seem silly, but though I’m a drummer I have on numerous occasions lent guitar picks and cables to guys who forgot to bring their own. Be the most responsible person in the room. NICHOLAS MASON is a Los Angeles-based session and touring drummer. His credits include Street Drum Corps, Nik West, Orianthi, Tuff, Corey Feldman, Shania Twain, Kevin Nealon, MasterChef, Glee, Showtime, FOX, Cartoon Network, ABC and more. For further information, visit http://nickmason.org.
/FF 9OUR &IRST 3ESSION
ERIS IMAGING WAS GREAT , THE MIDRANGE CLEAR AND WELL-FOCUSED, AND THE
HIGHS WERE DETAILED. Sound on Sound, Nov. 2013
+ + + + +
+ + + + +
ONE-UPS TIGHTER BASS RESPONSE
SAUCE” IS THE SET OF
I FEEL LIKE THE ERIS
PRESONUS’S “SPECIAL
CONTROLS,
THE KRK. EVEN WITH THE ACOUSTIC
BUT LISTEN CAREFULLY TO THE E8:
SPACE CONTROL FLAT, THE E5 HAS
Tape Op, Aug. 2013
THE SOUND IS EVEN, PROJECTS WELL, AND LETS YOU REFERENCE
ACCURATE
.
MIXES
HIGHS WERE EXTENDED AND
SMOOTH WITHOUT ANY EDGY
Eris™ E8 • 8" Kevlar LF Transducer • 1.25" silk dome HF transducer • 150 honest watts • Eris™ E5 • 5.25 " Kevlar LF transducer • 1.0" silk dome HF transducer • 80 honest watts • Big Boy Controls our competitors don’t have: continuously variable Mid and High frequency controls • 3-position Acoustic Space switch • Input Gain • Low Cut-Off for use with our cool new Temblor T10 sub
SPIKINESS OR RESONANCES. !"#$%&'()*+,-./'0.12,'34*56),-25/&'7-5&'044'829:6/'8*/*);*1<'3)2/'2/'='6)=1*>=)?',@'()*+,-./'0.12,'34*56),-25/&'7-5<
Recording, May 2013
AT A REASONABLE PRICE. Electronic Musician, Apr. 2013
NOTABLE LOW-END RESPONSE
PUNCHY. SANS SUB—FULL AND DETAILED, YET
Pro Audio Review, Sept. 2013
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+ + + + +
E8’s FROM PRESONUS SOUND SIMPLY AMAZING…A
REALLY PHENOMENAL REFERENCE MONITOR, NOT ONLY FOR THE PRICE, BUT JUST IN REGARD TO REFERENCE MONITORS, IN GENERAL.
AskAudio Magazine, December 2013 ,-.'(/0')1%2/345
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