37 minute read
Exec Profile: Rosabelle Eales, Overall Mgmt. . . . . . . . . . . . . . . . . . By Andy Kaufmann
from September 2021
Rosabelle Eales
Owner/Manager Overall Management Years with Company: 6 Address: Los Angeles, CA Web: overallmgmt.com E-mail: info@overallmgmt.com Clients: Gnash, Imad Royal, Girl Wilde, Alexmaax (Max Hershenow), Ilan Rubin, Joe Rico
BACKGROUND
Rosabelle Eales started working in music when she was 18. By 2016, she owned her own management company at the tender age of 23. Now 29, she’s more thankful than ever to be serving artists.
Discovering the Industry
I’ve always joked that the music industry found me, way more than I found the music industry. Music’s always been a big part of my life. I never really [knew] that you could work in the music industry. That wasn’t something I grew up understanding. In high school, I helped open a music venue; I was booking shows. I didn’t recognize that it could be a career path. When I went to college, I was trying to choose what major I wanted. I saw that you could do music business, and I was like, what does that mean?
Work Over School
When I was 21, I got offered a full-time job working in L.A. That was the summer between my sophomore and junior years of college. I was really confused, because I wanted to drop out and take this job, but you’re taught that’s not the right thing to do. You’re supposed to get a degree. And my dad was like, “You’re in college studying the music business, and you’ve been offered a job in the music business. Why would you not take that?” So I did.
Building a Company Around Values
My parents were both small business owners, so owning a business was not something that felt intimidating. When I stepped out of being a tour manager and into more of a management role, I never was like, “I’m going to start my own company.” The issue was that I didn’t see any companies doing [management] the way I wanted, which was very grassroots, familyoriented, and collaborative. And I was blessed that my frst client, gnash, had a Top 10 radio record, so I had the fnancial autonomy to do what I wanted. And what I wanted was a company that followed my values.
Always Learning
Dana Dufne, who works at AEG, is a mentor of mine. She’s someone I go to for advice and perspective. If you want to get into management, pick out a mentor or someone you can learn from. Although I’ve taken on being more of a mentor than a mentee, I’m always looking for opportunities to learn from people. [Management is] not something that can be taught as much as something that has to be learned. Finding people you can absorb knowledge from is massively important. are a community. My whole roster works with each other in some sort of creative capacity. I’ve met with incredible artists and have come away being like, “I don’t know if I’m the best person to serve you. How can I help you fnd another manager?” And I’ve met with people who I’ve felt deeply connected and have to work on their project.
Unsolicited Artists
I listen to everything that gets sent to me. Because we are such a small company, when it comes to taking on talent we have to be a little more selective. I need to make sure that everyone I’m representing is getting the level of attention they [need]. I wouldn’t necessarily say we’re actively looking for talent, but I wasn’t looking for talent three clients ago.
Managerial Qualities
I have an elephant’s memory. I’m very
Working Together
I don’t ever want to be the hardest working person on an artist’s team. If we’re all fring at 100[%], that’s how
“I wouldn’t necessarily say we’re [we create] massive success. So I look actively looking for talent, but I wasn’t for people who have vision, ambition, drive… It really is based off of [whether it looking for talent three clients ago.” feels] like you’re going to bust your ass, because I’m going to do that for you. And if so, how can we support each other? What is the vision? Is it something I can organized. I’m meticulous. But what makes me help grow and develop? a great manager is I’m deeply compassionate, empathetic, collaborative, loving, honest and Losing Artists kind. That’s how I approach my relationships [An artist left me] at the beginning of the with clients. I work hard to represent them, and pandemic. Prior to that, I had never had a client make sure my values are lining up with theirs. I leave. This client felt there was another team that see people as people, not just commodities. was more suited toward their business. When that happens, you just have to respect it and be
Employees, Clients, and the Pandemic as helpful as you can during the transition.
The company is three people––it’s me There’s nothing you can do. It’s the same and two employees. I have independent thing if someone breaks up with you. You have contractors who I work with. I’ve been thinking to be like, yes, I respect that. Management is about hiring someone else. That’s something one of the most important vocations [in the music
I’m going to look into in 2022. Right now, the industry]. You’re trusted with someone’s art. goal is recalibrating after the pandemic and They give this to you and say, “I’m trusting you making sure everyone’s on steady footing, to take this into the world in a way that properly although we ended up taking on two new represents me while also growing my business. clients during the pandemic, and a new client Please don’t fuck it up.” And if someone feels right before [it started]. there’s someone that can better represent their art, I respect that because it’s not about me.
Being Physical and Virtual
I have a physical space in L.A. I share it with a Entering the Boys’ Club phenomenal manager. As much as it’s a money I want to see more women managers. We are pit, we keep it because we love it. During seeing a rise of women in the music industry, the pandemic, we went virtual pretty quickly. and I love it. I don’t always see that same rise
As things were opening up, I asked both my in management. There are incredible women employees what they wanted. How did they feel managers who kick ass every day; there just their workfow was affected? Were they happy? aren’t enough of them. We have opened
My role as an employer is to lead this team to opportunities to women, while management has greatness, but it’s also to understand what they continued to be a closed door. need to be successful. And I felt no change in I have to fght way harder to be taken our workfow by going virtual. seriously than any of my male counterparts. It’s not overt sexism. It’s these deeply sown seeds
Building a Family of Artists of misogyny in an industry that, for so long, was
Most of my artists come by recommendation fundamentally run by men for men. from a trusted party––lawyers, managers, publishers, agents. Normally when I’m taking Being Grateful on a new client, the biggest thing I look for is The older I get, the more grateful I am that [if it’s] going to compete with someone else on this is what I do. When I was younger, I took it my roster. I’m not going to take on a bunch of for granted. As I’ve gotten older, I’m just like, similar clients who will split opportunities. I want how amazing is it that I’ve gotten to build this all my clients to be able to stand in their own company and incredible life off of music? I went space and feel like they’re supported. to college for two years and didn’t graduate, yet I look for people who love the values of the I own a very successful business. In what other company and want to be part of it. We really industry can you do that?
OPPS
Nickelodeon wants a Manager,
Music & Talent. They are seeking an enthusiastic, hardworking, music lover to join the Nickelodeon Kids & Family Music Department! This full-service team acts as an in-house record label and handles everything from music creation, music releases, and developing music artists for the Nickelodeon Kids & Family brands within ViacomCBS. This role is based in Hollywood, CA. Apply at ViaComCBS Careers.
United Talent Agency is looking for Music Brand Partner-
ship, Hip-Hop. The music brand partnerships team is a marketing division responsible for creating nontraditional sales and marketing partnerships for UTA’s roster of music artists. The Music Brand Partnerships & Strategic Marketing Executive is responsible for creating and managing brand and agency partnerships for UTA Music’s Global Hip-Hop roster. Apply at LinkedIn.
Netfix needs a Music Business
Developer, Series. The newly formed Music Business Development team leads Netfix’s global original music distribution strategy (i.e. soundtracks) partnering closely with teams across Music Creative Production, Music Business and Legal Affairs, Marketing, Publicity and others to identify ways to make the great music in Netfix flms and series around the world come to life outside of our ecosystem. They work closely with internal and external partners to further the brand equity of Netfix titles through music while creating member joy. Apply at LinkedIn.
Vixtex wants a Music Royal-
ties Expert. Vistex Inc. seeks an experienced and enthusiastic Subject Matter Expert with a positive “can do” attitude to join their Solution Delivery Team in North America. The right candidate will be responsible for providing subject matter expertise and business analysis services and support for implementing Vistex’s software on its largest music projects, primarily for multi-national record labels. Apply at LinkedIn.
For More Career Opportunities, check out musicconnection.com daily. And sign up for MC’s Weekly Bulletin newsletter.
LABELS•RELEASES SIGNINGS
Pop prodigy AVIV has signed
with Photo Finish Records. The 15-year-old Toronto singer and songwriter will release a remix of her indie hit “Black Coffee” for her frst single on the label. “With COVID, a lot of my friendships and my friends’ romantic relationships just came to a full stop,” AVIV says. “People drifted. When you pour out your cup of black coffee, there are all of these grains in the bottom that stay there.” Contact ellyn@ e2pr.biz for more info.
Crust punk project Bastardur sign
to Season of Mist Records. Bastardur is the side project of Sólstafr singer-guitarist Aðalbjörn “Addi” Tryggvason. The debut album, Satan’s Loss of Son, will drop in November. “Four years after writing the frst riff, two years after the main recording session, I am super happy to fnally unleash this album into Watershed is Back
The Watershed Music and Camping Festival made a joyous return to George, WA, with Priscilla Block (pictured) among the highlights. Dierks Bentley, Tim McGraw and Thomas Rhett headlined.
heavy metal land,” said Tryggvason in a statement. Contact katy@ season-of-mist.com for more info.
Australian artist MAY-A has
signed to Atlantic Records. Her debut EP, Don’t Kiss Ur Friends, is available now. “It honestly feels like a dream to be working with Atlantic Records,” she says. “I am so appreciative of the team I now have over there and I’m excited to delve further into creative ventures with them in the future.” Contact amanda@twntythree.com for more.
PROPS
Nashville singer-songwriter Cole Swindell celebrated his 10th
career No. 1. Swindell was presented with an award after a surprise appearance at the Whiskey Jam in Nashville. He was also recognized for having been streamed globally over 180 million times (adding to his over 4 billion global career streams), and having reached over 15 million in total U.S. track equivalents. Contact dixie@schmidtpr.com for more info.
Gibson has launched a record label, and the frst album will be from Guns N’ Roses guitarist Slash, featuring Myles Kennedy
and the Conspirators. Gibson will work in partnership with BMG for the release. “Launching a record label that is in service to our artists is the natural evolution of our 127 years of history. Gibson Records will work with Gibson artists to capture, record and promote their
DIYSpotlight LITTLE GALAXIES
JEANNA FOURNIER OF psychpop band Little Galaxies has had a hell of a time. The singer had to endure years of healing following a serious car accident, and then just as she was back at full ftness, COVID happened. It’s been a constant battle for the band she formed with Amir Eshraghi in 2012.
“2013 was our debut release,” says Eshraghi. “During that time, we became a couple.”
“We started writing songs on the beach—we live in Venice,” adds Fournier. “We wrote our frst album while falling in love, and enjoying the summertime.”
They describe their sound as a mix of psychedelic pop and cosmic rock. Think Hawkwind-meets- Lorde. Very song-based.
“We like to explore other genres,” Fournier says. “We’re heavily infuenced by folk, pop, rock and psychedelic music. We feel like we meld all those genres together to create something of our own.”
Their latest single is “Waking Sea,” from the forthcoming album One With the Waking Sea.
“After we released our frst album, I was in a car accident and we had to take a few years off for me to heal from my injuries,” Fournier says. “A lot of the songs on the album were written during that time and inspired by my car accident. I was unable to sing and play guitar for quite a while. Playing helped heal and get me to where I am now.”
“I did years of voice therapy to get me back to where I am,” Fourier says. “I want this album to be inspiring to people who are trying to overcome something, heal and fnd peace when they’re dealing with ups and downs in their lives.”
It’s fair to say that Little Galaxies have been “doing it themselves.” They even started a record label, Coconut Spaceship, to get their new album out.
“For years we had been writing all our songs, co-producing our music, producing our music videos,” says Fournier. “For the music video coming out next week for ‘Waking Sea,’ we partook in editing. That’s the frst time we’ve done that. It’s about taking the
OJO DE LOBA
reins and constantly learning, so that we can have control over what we’re doing and make the art that we want without being confned. We also do a lot of the promotion ourselves.”
Little Galaxies have some shows planned, and they’ll be releasing some more new music towards the end of the year.
Visit littlegalaxiesband.com for all the info.
music under an artist friendly partnership,” says Cesar Gueikian, Brand President, Gibson Brands. Contact lcoffey@primeprgroup.com for more info.
Composers Benji Merrison and
Will Slater continue their joint productions and are set to unveil further collaborative compositions, with BBC Dynasties II being released for the balance of 2021, and an additional project with David Attenborough—Green Planet—set for release in early 2022. First jointly commissioned in 2018 to score the soundtrack to the hit BBC series Dynasties, which received IFMCA, News and Documentary Emmy award nominations, their work as a duo also includes credits for Meerkat: A Dynasty Special.
THE BIZ
Capitol Music Group / Virgin have launched a new label partnership with Range Media
Partners. “Range Media Partners is a home for creators and managers alike,” says Range Media Partners Co-Founder and Managing Partner, Matt Graham. “As a collective of experienced managers who came from across the industry’s best companies, we beneft from a diversity of ideas, tastes and relationships that help to create a tremendous multiplier effect for our management clients and any artists that we partner with at our new Range Music label.” For more info, contact jaclynu@ grandstandhq.com.
Primary Wave Music has launched “Industry Hour.”
Primary Wave recently established a Racial Equality Task Force, and on June 29 it launched a video series called “Industry Hour.” It’s a fve part series hosted by Primary Wave’s Lorena Garcia. The episodes are available to watch at Youtube. Contact kyle@rockpaper scissors.biz for more info.
BRETT CALLWOOD has written about music for two decades, originally for Kerrang!, Classic Rock, Metal Hammer and more in the U.K. He’s the author of two books, about Detroit proto-punks the MC5 and the Stooges. He’s now the music editor at LA Weekly, and has regular bylines in the SF Weekly, Tucson Weekly and idobi Radio, as well as here in Music Connection. He can be reached at brettcallwood@gmail.com SRDF Fund Distributes Record $18 Million in Royalties
The SAG-AFTRA and Industry Sound Recordings Distribution Fund (SRDF) almost doubled their annual payout to vocalists in 2021 to over $18 million. Paying vocalists royalties for their interactive streaming and licensed recordings under the SAG-AFTRA Sound Recordings Agreement, the SRDF expects substantial growth in distributions each year as the industry’s streaming revenue continues to grow. (Pictured) SRDF Fund Manager, Terry O’Neal, has worked with singers to get their residuals for over 30 years and used his experience to build a great team at the SRDF. For more information visit their website at saisrdf.org.
The LEGAL Beat
BY GLENN LITWAK
MUSIC ON TV IN THE AGE OF STREAMING
IF YOU WATCH some classic TV shows (The X-Files, Scrubs, or Bones) on streaming services such as Netfix, Amazon Prime or Hulu, you may notice that the original music used in these network or cable shows has been replaced. The obvious question is, why?
When a show airs, the producers have to pay a license fee to use pre-existing songs on the soundtrack. If you wanted to use a famous song, for instance, by the Rolling Stones, it would be very expensive. So many producers, prior to the advent of streaming, would choose, for instance, a very limited license only for broadcast TV for 3-5 years. This would lower the cost of the license and allow the producer to license more popular songs. Now, these old limited license deals have to be re-negotiated in the age of streaming.
Back 20 or so years ago, many TV producers thought 3-5 years would be sufficient for licensing a song. After those limited licenses expired some of these popular TV shows ended up on streaming services but often the music had
to be replaced. However, some songs are quite hard to be easily replaced based on the way they are used in the TV episode. And one of the reasons a show may have gained popularity is because of the music.
When a song is placed in a TV show, the producer must “clear” it with the song’s composers and publishers and pay a license fee. Costs for popular songs can be quite expensive: in the range of $25,000-$50,000. Such a cost would not ft into a typical network or cable TV budget. This is why producers sometime use music from artists who are not signed to a record label or publisher. The producer can license the song quicker (less parties to deal with) and for less money. Of course, this presents an opportunity for unsigned artists to get exposure, even if the license fee may be minimal.
The cost of licensing a song will depend on such things as the use of the song, how long it is used, and the popularity of the artist and song. You may have noticed in some TV commercials and shows you hear a very popular song, but it sounds slightly different. The reason may be that, in order to save money, the producer has had the song re-recorded so that the original master recording does not have to be licensed.
Nowadays, because of these problems in the past, producers will insist on an “in-perpetuity” license which, as the name implies, rights are given up forever. This is not considered good news for composers because these deals require them to relinquish their right to any future royalties in exchange for a one-time payment. Netfix has done huge major deals with producers and showrunners (Martin Scorsese (The Irishman) Shonda Rhimes (Grey’s Anatomy, Scandal) for sums reported to be up to $300 million. Unfortunately, it seems streamers like Netfix have not shared their wealth when licensing music.
GLENN LITWAK is a veteran entertainment attorney based in Santa Monica, CA. He has represented platinum selling recording artists, Grammy winning music producers, hit songwriters, management and production companies, music publishers and independent record labels. Glenn is also a frequent speaker at music industry conferences around the country, such as South by Southwest and the Billboard Music in Film and TV Conference. Email Litwak at gtllaw59@ gmail.com or visit glennlitwak.com.
I Quit My Day Job Because I Make More Money From My Music.
Matthew Vander Boegh, TAXI Member
That’s every musician’s dream, isn’t it —quitting your day gig because you make more money with your music. Well, that’s my life now, and here’s how I did it…
I joined TAXI.
Looking back, I wish I’d joined years earlier. TAXI taught me how to create music that people in the industry actually need. Then they gave me 1,200 opportunities a year to pitch my music!
It Didn’t Take That Long
I promised myself I’d quit my job as a college professor when my music income became larger than my teaching income. I reached that goal in less than fve years because of TAXI.
My income keeps growing exponentially, and my music keeps getting better because it’s my full time gig now! Here’s the ironic part…
I live in Boise, Idaho, not Hollywood, yet my music is on TV nearly every day. My studio is in a glorifed tool shed in my backyard, and my gear setup is so quaint other musicians ask, “Really? That’s it?!” I’ve got a computer, monitors, a few mics, and a cheap little interface. No fancy outboard gear, no rack-mounted anything!
My Two Secret Weapons
Targets and deadlines are my secret weapons. Knowing who needs music and when they need it motivates me to get things done. It’s changed my life! Actually, TAXI changed my life.
I’m getting paid for my music now instead of sitting on my couch dreaming about it. I’m my own boss, and some day my music will probably pay for my retirement, a vacation home on an exotic beach, and some umbrella drinks!
Don’t wait until you’ve built a catalog…
Join TAXI now and let them help you build the right catalog! Be patient, be persistent, and you’ll hit critical mass like I have. My income keeps growing every year!
I’m all the proof you need that a regular guy can make enough money with his music to quit his day job! Do what thousands of other musicians have done to become successful—join TAXI. You might never have to work another day gig in your life!
FELICITY DJ
Date Signed: Feb. 8, 2021 Label: Adventure Cat Records Band Members: Damien Fagiolino, lead vocals; Andrew Rapier, guitar; Cory Nicholas, guitar; Mike Alosa, bass; Tyler Dennett, drums Type of Music: Alternative Rock Management: Dayna Travers, Katy Cooper - Brightly Management Booking: N/A Legal: Alexander J. Ploegsma, Esq. - Ploegsma & Shulman, LLP Publicity: Becky Kovach, becky@bigpicturemediaonline.com Web: wearefelicity.com A&R: Matthew J. Clarke
BODEGA FLEE
Date Signed: Aug. 30, 2020 Label: Roc Nation Type of Music: Hip-Hop Management: Hugo Nunez - Roc Nation Booking: Brian Eduardo - Roc Nation Legal: Tim Mandelbaum - Fox Rothschild LLP Web: rocnation.com/music/bodega-fee A&R: Hugo Nunez
From Orlando FL, Felicity is a band that has many things to be thankful for. They are signed to a new label, have partnered with an invested management team and have been going strong in their current incarnation for over fve years now. But, perhaps, one of their biggest accomplishments is encapsulated in their present song “Hit and Run.” That and upcoming single “Pendulum” are part of a marketing plan where they are releasing a new song monthly, leading up to their official full-length album this summer.
Formed in 2014, Felicity released their frst independent self-titled album in 2015. “We followed that with an EP Brace Yourself in 2016, with producer Andrew Wade,” recalls Cory Nicholas. “That was our frst really professional experience in a recording studio, with someone who knew how to write hit songs. We learned a lot from him. We spent the next year, essentially, writing the EP Old Habits. We went even further into the recording process with Wade. We released a music video for every song on that EP.”
On the strength of Old Habits, Australian indie label Penultimate reached out to the band. That relationship, in addition to steady posting and promotion through Spotify and YouTube, got them the attention of Dayna Travers of Brightly Management. “About two years ago Dayna was on Spotify and heard one of our songs on a curated playlist,” says Nicholas. “She loved the song, checked out our profle and started listening to all our music. She reached out to Penultimate about us. And then it was probably a year or so of us updating her on everything we were doing. When we went into the studio to record our full-length album she proposed managing us.”
Brightly Management assisted in the band’s pitching to labels, with Adventure Cat being one of the frst that they contacted. “After we talked to some of the usual suspects, a lot of record labels were not signing any new bands until 2021,” says Andrew Rapier. 2020 was a hard year for many unsigned bands because, without touring, it was really hard for many of the labels to see a return on their investment. But Adventure Cat really believed in us and their resume speaks for itself. At the end of the day we wanna work with a team that believes in us as much as we believe in ourselves.” – Eric Harabadian The year 2020 was quite monumental for Edwin Meregildo, aka DJ Bodega Flee. In April he became the DJ for Quarantine Radio by Tory Lanez, which was one of the hottest hip-hop radio shows of the pandemic. Four months after the Instagram Live series introduced him to mainstream hip-hop fans, DJ Bodega Flee signed a management deal with Roc Nation. As a new signee with Roc Nation, this touring musician has been given access to resources from one the most respected companies in urban music.
“Roc Nation is a family. It’s not only just a company. This is something that you’re basically involved in for as long as you want to be involved. If you’re Roc, you’re Roc for life,” says the native New Yorker. His talent manager at Roc Nation (Hugo) has played a key role in his growth as a recording artist and the rollout plan for his debut EP, a collection of songs that DJ Bodega Flee hopes to introduce to the world this winter.
“I think the album’s going to be called The Bodega. I have a song with Jim Jones, Zoey Dollaz, 42 Dugg, Chucky73, Tory Lanez (and more). I got songs in the cut. I want to release them at the right time,” he says. “Basically, what I’m trying to do is put out something that represents me. I’m a Dominican kid that grew up in the Bronx. (The EP is going to be about) what I grew up on. People like Prince Markie Dee, Big Pun and Fat Joe. I’m a dude that can go both ways. You can put my songs in Spanish (genres) or hip-hop. And that’s dope, because people like us are the connection for hip-hop people to cross over to the Latin side.”
Seven years ago, DJ Bodega Flee rose to prominence in Central Florida after becoming the only disc jockey in the area to receive airplay on two stations at the same time. Once he left Central Florida for Miami, his road manager (GP Radio) became highly instrumental in helping his unique blend of dancehall, hip-hop, reggaeton and bachata achieve even more notoriety. Today, DJ Bodega Flee is co-producing his upcoming project with Papi Yerr (Tory Lanez, Rotimi).
With the support of Roc Nation, DJ Bodega Flee hopes that the success of his debut EP will lead to a record deal and a full-length studio album shortly thereafter. “I’ve been working on (the new EP) for about a year already. I like to have everything on point,” says the artist. “After the EP, we’re going to reach for the stars.” – Miguel Costa
THE GHOST CLUB
Date Signed: August 2020 Label: N/A Type of Music: Alternative Rock/Pop Management: Kyle Esbin - Sprq Talent Management, esbin.kyle@ gmail.com Booking: N/A Legal: N/A Publicity: Bari Lieberman - bari@pressherepublicity.com Web: facebook.com/theghostclubofficial and instagram.com/ theghostclubofficial A&R: N/A
Pittsburgh, PA singer-songwriter-producer and multi-instrumentalist Domenic Dunegan (aka The Ghost Club) writes songs that possess an infectious pop sense, are melodic and lyrically provocative. Singles like “All I Know,” “Same Graves,” “Antique” and many others deal with far-reaching themes, from the creative process to self-actualization, spirituality and various aspects of the human condition.
The year 2016 was fortuitous for Dunegan. His father took him to a Bruce Springsteen concert and that performance changed him forever. “I’ve taken a lot of infuences from Bruce,” says Dunegan. “A lot of my concept has been ‘How can that kind of music be made today?’”
In launching The Ghost Club, a lot of Dunegan’s journey has been based on hard work and self-reliance. Via Facebook he found his frst producer in Matt Squire (Panic! At The Disco, Ariana Grande). Squire cowrote a series of songs with Dunegan that garnered multi-million Spotify streams. That relationship led to partnering with Bad Suns, Mutemath producer Eric Palmquist in 2020. “Eric built a lot of confdence in me as a musician and creator,” says Dunegan.
Another major career touchstone arose with manager Kyle Esbin. “I was working at an agency and looking for artists to work with,” explains Esbin. “I found Dominic on Spotify. He also came up on Instagram and I started following him. I thought he had a lot of potential and I wanted to reach out to him. We talked a couple weeks after that and I’ve kept him moving forward and just trying to guide him in the right way.”
“Kyle’s been great because it’s been very difficult to get enthusiasm behind certain projects you’re trying to do,” says The Ghost Club frontman. “This dude has really pulled this thing along and pulled a lot of strings to help me out. He helped me get back in the studio quicker and he put me in touch with Bari (Lieberman). I’ve never worked with a publicist before.”
While Dunegan on recordings is, essentially, the prime mover behind The Ghost Club, he will work with other musicians for live shows. Current plans are to release a new single every two to three months, with an EP factoring into the mix sometime this summer.
“I was really getting burned out trying to do things myself,” says Dunegan. “Kyle keeps me in line. Sometimes I’ll forget to do things and he’ll tell me to put my big boy pants on and get it done!” – Eric Harabadian
SPRAY ALLEN
Date Signed: April 2, 2021 Label: 5 Music/Luscious Plum Band Members: Eric Wilson, Wade Youman, Eric Sherman, Daniel Lonner Type of Music: Psych-Rock Management: Mike “Cheez” Brown and Derek Gordon - Old Bull Management Publicity: Sarah Facciolo - Facci PR Web: facebook.com/sprayappeneverywhere A&R: Derek Gordon
The four men involved with new project Spray Allen have plenty of individual punk rock credibility. Bassist Eric Wilson was a member of Sublime, and is now in Sublime with Rome. Meanwhile, drummer Wade Youman was in Unwritten Law, while singer Daniel Lonner and guitarist Eric Sherman were both in Late Night Episode.
“This band started around a year and a half ago,” Sherman says. “Me and the singer, our band broke up in New York and we just got a one way ticket to the West Coast. We started working in San Diego and then connected with Wade, our drummer. We went to Eric [Wilson]’s house, this awesome 17-acre ranch-style place. An adult Disneyland. We jammed and then went to the desert a couple of days later. We just hit it off. Pretty much just all lived together for the last year and a half. Really organic, started making music. Eventually, after covering our favorite artists like Misfts and Iggy Pop, we just started writing our own stuff. It just developed from there.”
Sherman describes the Spray Allen sound as “new psychedelic”—a blend of old and modern with infuences coming from the ‘70s and the ‘90s. That can be heard on the single “Stay Clean,” with production by Butthole Surfers guitarist Paul Leary plus Stu Brooks (Dub Trio) and Gabrial McNair (No Doubt). The song, Sherman says, has two meanings.
“For adults, it’s ‘stay clean and try to make your mom proud,’” he says. “For kids, it’s ‘clean your room and listen to your mom.’ Just don’t be a dick.”
The video for the single sees the four men playing dressy up and tackling the eternal battle between good and evil––a high concept indeed.
“Daniel the singer is an angel, I’m a rabbi, Eric Wilson’s a priest, our drummer’s the devil,” Sherman says. “It’s harmonious between good and bad, all religions, it’s just everything. Everyone should come together and stay clean, be good. It’s also poking fun a little bit at all of those, as well. The devil’s trying to do these tricks and yet ultimately he ends up going back to hell where he came from. It’s a lighthearted way of telling everyone to stay clean.”
Spray Allen recently signed on with Old Bull Management, a connection made through their work with Sublime with Rome.
“We had met Old Bull before––we’ve hung out and become friendly,” says Sherman. “After making Spray Allen a thing, they heard the music and were really blown away. Especially considering that it’s not reggae. They were blown away by how hard we were working. We delivered 27 songs and I’m stoked that we’re fnally getting them out right now.”
With a double album and hopefully a tour on the way, things are looking sublime for Spray Allen. – Brett Callwood
Whet Signs Virtual
Warner Music Group’s pan-Asian dance label, Whet Records, has made history signing the first label deal with virtual artist, Ha Jiang. Known as a “virtual Idol,” (social influencer/model), Jiang has over 100,000 followers in China and will be paired with hit songwriters and producers.
Isaak Under The Wave
Chris Isaak has sold a 50% stake in his masters to Primary Wave Music. The deal covers his biggest hits, including “Blue Hotel,” “San Francisco Days,” “Baby Did a Bad, Bad Thing,” “Somebody’s Crying,” and “Wicked Game.” The partnership includes a $30 million recording contract with Sun Records.
Dio’s Rainbow In the Dark
The autobiography of Ronnie James Dio is now out via Permuted Press. Co-written by journalist Mick Wall and Dio’s long-time manager and widow, Wendy Dio, Rainbow In The Dark covers the excesses and adventures during years as a sideman, singer, and eventually the frontman for three internationally renowned metal bands. More at premierecollectibles.com/dio.
Publishing for Musicians
Bobby Borg and Michael Eames’ latest book release, Introduction to Music Publishing for Musicians: Business and Creative Perspectives for the New Music Industry, presents simplifed, digestible and timely insights on self-publishing and releasing music for independent artists––including songwriters, producers, beat makers, etc.). With decades of industry experience, Borg and Eames demystify copyrights, types of publishing income, publishing companies and types of deals, as well as creative matters and the future of the music publishing world. More at amazon. com/author/bobbyborg.
Warner Snags Barker and Dugg
Warner Chappell Music has signed musician, producer, songwriter and punk drummer, Travis Barker, to an exclusive global publishing deal covering work from his three-decade career. Known predominantly for his drumming with Blink-182, Barker has also worked with Transplants and +44, as well as navigating a solo career in multiple musical genres and cowriting/ producing songs for Machine Gun Kelly, KennyHoopla, Bebe Rexha, and others.
Detroit hip-hop artist, 42 Dugg has also signed with Warner, for a co-publishing deal alongside CMG (Yo Gotti) and RPF (Lil Baby) record labels, who signed him as a joint venture. Dugg’s latest album, Free Dem Boyz, includes collaborations with Future, Lil Durk, EST Gee, Rowdy Rebel, Fivio Foreign, and Roddy Ricch––with Ricch’s collaboration on “4 Da Gang” landing on Billboard’s Hot 100 and Hot R&B/Hip-Hop Songs charts.
Nashville Songwriters Hall of Fame
The Nashville Songwriters Hall of Fame have announced their inductees for 2021, which include Toby Keith being honored as songwriterartist for his songs “Should’ve Been A Cowboy,” “How Do You Like Me Now?” and “As Good As I Once Was,” and Amy Grant as veteran songwriter-artist for her songs “Baby Baby,” “That’s What Love Is For” and “Tennessee Christmas.” Rhett Akins and Buddy Cannon are being inducted in the veteran songwriter category for Akins’ songs, “That Ain’t My Truck,” “Honey Bee” and “It Goes Like This,” and Cannon’s hits “Set ‘Em Up Joe,” “I’ve Come To Expect It From You” and “Give It Away.” John Scott Sherrill will be inducted into the veteran songwriter category for “Wild and Blue,” “The Church of Cumberland Road” and “How Long Gone.”
The latest award recipients will be honored and officially inducted at the Nashville Songwriters Hall of Fame Gala on November 1 at the Music City Center. Due to the 50th Anniversary celebration being postponed last year, this year’s event will also honor inductees from the Class of 2020, including Steve Earle, Bobbie Gentry, Kent Blazy, Brett James and Spooner Oldham.
ASCAP on Demand
The 2021 ASCAP Experience conversation with Chris Stapleton and Dan Wilson can now be found on demand on YouTube after ASCAP Experience’s inaugural watch party. Stapleton and Wilson discussed lessons learned and their process of co-writing, covering topics including how to fnd confdence when presenting a song, writing etiquette, songwriting splits,
Hollis Commemorates Lee
Grammy-nominated singer-songwriter Hollis pays tribute to the late Grace Lee Boggs, Chinese-American social activist, philosopher and author, in her latest release. Single, “Grace Lee,” was inspired by Lee’s fearless approach to life and commitment to fighting for what’s right without limits.
fostering collaborative creativity, and much more.
With experience including writing hits for Halsey, Justin Timberlake, Adele, Kenney Chesney and others, the seasoned writers offered a wealth of experience.
McKenna’s Concord Creative Pulse
Multiple Grammy-winning artistsongwriter Lori McKenna has signed a combination deal with Concord Music Publishing, Creative Nation and Pulse Music Group to co-publish her future works. With Grammy, CMA and ACM Songwriter of the year awards, McKenna has worked with Little Big Town (“Girl Crush”), Tim McGraw (“Humble and Kind”), The Highwomen (“Crowded Table”) and has released 12 solo albums. Credits also include Carrie Underwood, Miranda Lambert, Faith Hill, Hunter Hayes, and others, as well as co-writing “Always Remember Us this Way,” as featured in 2018’s A Star Is Born.
Big Loud Gets Louder
Big Loud Records is growing its team and promoting existing team members, with Stacy Blythe being promoted to SVP, Promotion (previously VP Promotion), Ali Matkosky advancing to the VP Promotion role (from National Director Promotion), Tyler Waugh moving to the National Director position (after fve years as Director Southeast Promotion), and Sarah Headley moving to Director Southeast Promotion (following her role as Promotion Coordinator).
Delaney Rogers moves from Executive Assistant to Big Loud Partner/CEO Seth England over to assisting Blythe and Kelly Brock has been added as Promotion Coordinator (after roles as an on-air radio personality at WKDF Nashville and WUSY Chattanooga). Aubrey Wilson has also joined as Data & Analytics Coordinator
2021 SESAC Latina Music Awards
With two new categories for this year’s awards, SESAC Latina was honored to recognize two musical genres within each award category. Winners for Composer of the Year went to Edén Muñoz in for Regional Mexican music and Manuel Turizo for Pop/Latin Rhythm. Song of the Year went to Christian Nodal for “Se Me Olvidó” in the category of Regional Mexican music, and Ñengo Flow for “Safaera” in the Pop/Latin Rhythm category.
Latina Publisher of the Year went to Dulce Maria Music for the Regional Mexican music category and Sony Sounds for the Pop/Latin Rhythm category.
BMI Christian Awards
Broadcast Music, Inc. proudly congratulated this year’s Christian Music Award winners for their talents and uplifting songwriting. Song of the Year went to “Way Maker” (Sinach/Capitol CMG Publishing), Songwriter of the Year went to Ethan Hulse (his third year in a row) for “Rescue Story,” “Stand In Your Love,” and “The Father’s House,” and Publisher of the Year went to Capitol CMG.
BMI paid tribute to 17 frst-time Christian Music Award winners with an award going to the Twenty-Five Most Performed Christian Songs of the Year, which included nods to songs including, “The Blessing,” “Holy Water,” “Burn The Ships,” “Together,” and others. Full list of winners at bmi.com.
2021 WCS Winners
The 2021 West Coast Songwriters International Song Contest winners have now been announced, including Alternative song winner, “Feel Something” by Jessica Lindsay, Rock song winner, “Damned If I Know” by Kevin Beadles, R&B song winner, “Constant Reminders” by Iari Melchor, Country song winner and Grand Prize Runner Up, “That Bakersfeld Sound” by Rebb Firman, and Pop and overall Grand Prize winning song “I’ll Wait For You” by Joshua Warren. Full list of winners at westcoast songwriters.org/winners.
ANDREA BEENHAM (aka Drea Jo)
is a freelance writer and marketing consultant based in Southern California. The South-African born, Canadian-raised California transplant has a passion for music, people and fun. She can be reached at drea@dreajo.com
Engelhardt Seeks Slumber
Film/TV composer Cheryl Engelhardt has released a followup to her widely touted 2020 new age album, Luminary, with her latest release: A Seeker’s Slumber. The new age lyrical fusion album is designed to induce deep, powerful sleep. Milk & Honey for Andrews
On the heels of huge success with three BTS singles––and with credits including work with Benee, Little Mix, Drake, Jennifer Lopez, Jessie J and others––songwriter-producer Jenna Andrews has been signed to a management deal with Milk & Honey Music, with Lucas Keller, Nic Warner and Chad Wes at the helm.
Kaylee Rose at The MLC
Songwriter Kaylee Rose recently stopped by the offices of The Mechanical Licensing Collective (The MLC). Rose met with The MLC’s CEO Kris Ahrend and Chief Marketing Officer Ellen Truley (pictured) to officially become an MLC member and work on organizing her song catalog for registration with the organization.
