Music Connection's January 2013 Issue
Music Connection's January 2013 Issue. Features a Kid Rock Cover Story, What Label Reps Are Signing in 2013, What To Do If You Think You're Being Ripped Off By A Venue, and much more!
Vol. 37, JANUARY 2013 â€˘ U.S. $3.95/$4.95 Canada www.musicconnection.com PERFECT MATCH DLM12 IN DEMO ROOM 209A/B SIMPLY ADVANCED • • • • 2000W TruSource™ Technology DL2 Integrated Digital Mixer Ultra-Compact & Lightweight VISIT MACKIE DL1608 DLM12S • • • • • Wireless Mixing Total Control From Your iOS Device Onyx Mic Preamps 24-bit Cirrus Logic® Converters Powerful Selection of Plug-ins DLM8 DIG INTO THE TECHNOLOGY BEHIND THIS INNOVATIVE SYSTEM Some things are truly greater than the sum of their parts. Contemplate the perfect balance achieved when pairing Mackie DL mixers and DLM speakers. Never before have power, technology and portability delivered so much ultra-compact harmonious goodness. Wow, our self-improvement books have really paid off. Namaste. MACKIE.COM/SIMPLY ADVANCED contents Cover Stories Kid Rock January 2013 • Vol. 37 • No. 01 As he prepares to embark on a winter 2013 tour in support of his latest album, Rebel Soul, crossover king Kid Rock gives a candid no-holds-barred interview about how he manages his career (including his decision to finally make his music available on iTunes), his no-frills production style and the possibility of launching his own label. 44. Industry Profile: 36 Cover Photo and InsIde Image By: erIC ogden By Gary Graff Label Scouts: What They’ll Sign in 2013 What kind of acts do labels expect to sign this year? Will specific genres be more signable than others? Are there new clauses in standard contracts? This exclusive article gives readers a peek into the minds of talent scouts, reveals each rep’s work process and what artists can do to get a deal. By Bernard Baur Find out how Casio is helping artists and songwriters boost their careers. By Brett Bush Departments 40 Directory of A&R Reps To kick off the new year right, MC delivers information that every careerminded musician needs—an updated and expanded list of major and indie-label talent-scouts. 56 08. 09. 10. 14. 16. 18. 23. 26. 28. 32. 34. Close Up Assignments New Toys Book Store Up Close Studio Mix Business Affairs Signing Stories Song Biz Film/TV/Theater Mixed Notes Compiled By Denise Coso Reviews 48. CD Reviews 50. New Music Critiques 52. Live Reviews Directory of Music Attorneys Artists must rely on an informed attorney to make smart career choices. Using MC ’s exclusive, updated directory, anyone can find and engage the best legal representation in the industry. Compiled By Denise Coso 20. 22. 30. 46. 78. 66 Engineer Crosstalk: Matt Serletic...........................................................By Rob Putnam Exec Proﬁle: Debbie Cavalier, Berkleemusic.........................................By Andy Kaufmann Songwriter Proﬁle: Dustin Welch............................................................By Dan Kimpel Career Connection: Epic Proportions...................................................By Andy Mesecher Tip Jar: Think You’re Getting Ripped Off By The Venue?..........................By David Barber Be Sure To follow Music Connection on Facebook and Twitter. Check out our AMP Social Space and online magazine for up-to-date music news. The opinions expressed in Music Connection, as well as all Directory listings and contact information, are provided by various sources in the music industry. Music Connection is not responsible for any business transactions or misadventures that may result from your use of this information. 4 January 2013 www.musicconnection.com PUBLISHER E. Eric Bettelli GENERAL MANAGER/ ADVERTISING DIRECTOR E. Eric Bettelli email@example.com OPERATIONS MANAGER Denise Coso firstname.lastname@example.org MARKETING/ADVERTISING MANAGER Hillorie Rudolph email@example.com ACCOUNT EXECUTIVE/ARTIST RELATIONS Mira Abas firstname.lastname@example.org ADVERTISING ART DIRECTOR Gary J. Stephens email@example.com NEW TOYS Barry Rudolph firstname.lastname@example.org DIRECTORY EDITOR Denise Coso email@example.com EDITORIAL INTERN Karen Emmert firstname.lastname@example.org ASSOCIATE PUBLISHER/ SENIOR EDITOR Mark Nardone email@example.com ART DIRECTOR Cesare Perrino firstname.lastname@example.org DIRECTOR OF ONLINE OPERATIONS Mukul Chauhan email@example.com ASSOCIATE EDITOR Andy Mesecher firstname.lastname@example.org CONTRIBUTING EDITOR Bernard Baur email@example.com SONG BIZ Dan Kimpel firstname.lastname@example.org FILM, TV, THEATER Tom Kidd email@example.com FEATURE WRITERS Andy Kaufmann firstname.lastname@example.org Rob Putnam email@example.com CONTRIBUTING WRITERS Jessica Aves, Allegra Azzopardi, Bernard Baur, Fuchsia Black, Brett Bush, Stefan Broadley, Karen Emmert, Gary Graff, Eric A. Harabadian, Corey Irwin, Oscar Jordan, Andy Kaufmann, Dawna Kaufmann, David Kershenbaum, Kim Mack, José Martinez, Dean Moore, Paula Muñoz, Jessica Pace, Rob Putnam, Tim Reid Jr., Adam Seyum, Daniel Siwek, Matt Schild, Brian Stewart, Laurier Tiernan, Albert Vega, Catherine Veit, Jonathan Widran, Ellen Woloshin. PHOTOGRAPHERS Jessica Aves, Allegra Azzopardi, Bernard Baur, Daren Cornell, Jody Domingue, Scott Dudelson, Karen Emmert, Kevin Estrada, Corey Irwin, Oscar Jordan, David Klein, Thomas Long, Kim Mack, Cindy Miley, Paula Muñoz, Jessica Pace, Scott Perham, Rob Putnam, Tim Reid Jr., Adam Seyum, Daniel Siwek, Brian Stewart, Dave Stone, E. H. Tiernan, Albert Vega. Manufactured and printed in the United States of America, Music Connection (ISSN# 1091-9791) is published monthly by Music Connection, Inc., 14654 Victory Blvd., Van Nuys, CA 91411. Single copy price is $3.95, Canada $4.95. Subscription rates: $35/one year, $59/ two years. Outside the US, 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 © 2013 by E. Eric Bettelli. All rights reserved. Founded by: J. Michael Dolan / firstname.lastname@example.org 14654 Victory Blvd. Van Nuys, CA 91411 Office: 818-995-0101 Fax: 818-995-9235 Email Address: email@example.com Website: http://musicconnection.com Legal Counsel: Christopher J. Olsen / firstname.lastname@example.org Corporate Headquarters Subscribe to MC NOW! musicconnection.com/store/subscriptions/ 6 January 2013 www.musicconnection.com PERFORMANCE YOU CAN TRUST Pictured MAX SPL: 135 dB 43.5 lbs. Your audience deserves to hear every note, every word, and every beat. PRX600 Series speakers were designed from the ground up to perform in the real world where difficult acoustical environments, high ambient noise levels or loud volumes are the norm. With four new full-range models and two new subwoofers you can tailor a system to fit your unique needs. And our 60 years of building speakers is engineered into every PRX600. Knowing that you can rely on your system to deliver gives you the freedom to deliver your very best. Thatâ€™s performance you can trust. Learn more at www.jblpro.com/PRX600 Powerful. Rugged. Versatile. ÂŠ 2012 Harman International Industries, Incorporated CLOSE-UP By Jonathan Widran Krysti O'Rourke I n 2010, the last time MC pro led Long Island-based Five Towns College—renowned for its commitment to educating entertainment professionals in the worlds of music, media, business, teaching and performing arts—the focus was on the school’s much heralded Music Business program. The program was developed by Professor Susan Gaide close to 30 years ago and expanded into a four-year program under the college’s VP Marin Cohen in 1990. Due to the evolving industry business models during this digital age, there has been a concentrated effort in recent years to include more studies on digital media, technological advances and the importance of entrepreneurship. Because of the challenging economic conditions in the music industry and US in general over the past few years, it makes sense for the focus to be on the powerful tools that FTC students of all disciplines have at their disposal via the Office of Career Services, helmed by Director Krysti O’Rourke. As the bridge between students and companies in the industries they seek to work in after graduation, the department’s goal is to provide a variety of experiential opportunities to enhance academic experience and prepare students for the workforce. These experiences include professional seminars, cooperative education, off campus jobs, networking opportunities, career counseling and career education. The Five Towns College Office of Career Services is staffed by knowledgeable personnel who strive to achieve the following goals: to enhance student awareness, preparation and appreciation of career activities and related work opportunities; to assist students in obtaining employment; to develop experiential opportunities that are linked to the student’s career objectives, like internships; to develop and maintain contacts with individuals and organizations in the private, non-pro t and public sectors that facilitate learning opportunities; and to establish and maintain databases and materials that facilitate the matching of student with these opportunities. O’Rourke places special emphasis on the value of internships, which the music business, audio engineering, and mass communications programs (broadcasting and journalism) list as requirements and which lm and video students can do for their elective credits. As part of her job, she teaches two courses on internships (Internship 1 and 2), which cover such topics as professionalism, assessment, creating resumes and cover letters, interviewing skills, etc. “Our office is proud of the efforts we place on individualized assistance,” she says. “Major and independent companies contact us with a lot of their internships and paying jobs because they know we’re a small school (1,000 enrolled at any given time) focused on music and the arts. Our music business program is also one of the larger ones in the country. We also do workshops for the employers we deal with. There’s a huge balance between representing Five Towns College and making contacts and maintaining relationships with employers on behalf of students. “The best advertising,” O’Rourke adds, “is a great student who does well in their internship and inspires these companies to come back to us for new talent. We have also continued to expand our annual career fair to include more top industry employers. Our Career Services and Student Activities collaborate to offer a unique, award-winning Lunch & Lecture Series. We invite professionals from across the spectrum to come to speak to our students in an environment that is both professional and casual. While the luncheon features longtime professionals, we also have a very successful Alumni Series Panel that we do with former students who graduated more recently and who are doing well on their chosen career path.” While most of the students who attend Five Towns College are from the NY-NJ-CT tri-state area, others enroll from as far west as California and as far away as Korea and Italy. Contact Five Towns College, 631-424-7000 8 January 2013 www.musicconnection.com ASSIGNMENTS Douglas E. Nestler VP of Sales Marshall USA Douglas E. Nestler has joined US Music Corp as Vice President of Sales for Marshall USA. Nestler is an industry veteran whose 32-year career has been spent primarily in musical instrument sales, most recently in senior management roles at Korg USA and Ultimate Support Systems. US Music Corp, located in Buffalo Grove, IL, is an international musical instrument company that manufactures and distributes products worldwide under the Washburn, Parker, Randall, and Oscar Schmidt brand names, as well as being the exclusive distributor for Marshall, Eden, Natal, Hagstrom and Warwick. US Music is a subsidiary of Jam Industries, Ltd. For further information, contact email@example.com. Joe Riccitelli Executive VP/GM RCA Records Joe Riccitelli has been named Executive Vice President/GM for RCA Records. He was previously Executive Vice President, Promotion, RCA Records. Riccitelli will continue to spearhead all aspects of Pop Promotion for the label and additionally will now oversee the Music Licensing and Brand Partnership departments. Riccitelli began his career at Polygram Records in 1985. He held the position of SVP, Promotion, Island Label Group from 1995-1999. He then joined Jive Records in 1999 as Sr. VP, Promotion. Riccitelli held that position until 2007 when he was named Executive VP of Promotion. In 2011, he was appointed Executive VP, Promotion, RCA Records, which was then newly relaunched. Contact firstname.lastname@example.org Assistant VP, Film/TV Relations Broadcast Music Inc. (BMI) BMI has promoted Ray Yee to Assistant Vice President, Film/TV Relations. Yee previously served as Executive Director, Film/TV Relations. In his expanded position at the performing rights organization, Yee will continue to affiliate composers and music publishers with BMI as well as provide service to BMI’s existing composers, songwriters and music publishers. He works closely with music supervisors, agents and other members of the US lm, television and gaming industries to scout and deliver opportunities for BMI’s affiliates. Yee also plays a vital role producing BMI’s annual “Conducting for the Film Composer” workshop, as well as various other outreach programs. Contact email@example.com. Ray Yee Lori McCallian CEO Dean Markley Dean Markley has announced the appointment of Lori McCallian as Chief Executive Officer of both Dean Markley USA and Ultrasound Ampli ers. The new role is effective immediately. McCallian will be actively involved in the various strategic, nancial and operational components of the company. Initially, she will spend additional time on branding projects, evaluating operational efficiencies, building the Dean Markley team, and getting to know the customers, artists, dealers and distributors. Prior to joining Dean Markley, her career was spent in the insurance and nancial services industries. For further information on this appointment, contact Josh Vittek, firstname.lastname@example.org. Live Product Specialist Waves Audio Waves Audio, a provider of audio DSP solutions for professional, broadcast and consumer electronics audio markets, has appointed UK-based audio engineer Val Gilbert as Waves Live Product Specialist. In his new capacity, Gilbert will communicate with other live sound engineers across the UK, sharing his vast knowledge of Waves plugins, the SoundGrid system and typical work ows in the live sound arena. As the industry continues its transition to digital, he will draw upon his real-world experiences and impart his expertise on the Waves customer base and live sound community. For further information on Val Gilbert and his role with Waves Audio, contact email@example.com. Val Gilbert VP of Sales HARMAN Professional HARMAN Professional has promoted Scott Robbins to Executive Vice President of Sales. Effective immediately, Robbins assumes worldwide responsibility for sales operations including management of HARMAN’s regional sales programs, its target market sales programs and all technical service and support. Robbins is a 12-year veteran of HARMAN, having been with Crown International when it was acquired by HARMAN in 2000. Prior to his appointment as Vice President of Sales, he was Senior Director of Worldwide Sales, previously holding a range of senior sales roles with HARMAN Professional and Crown Audio. For further information on this appointment, contact firstname.lastname@example.org. Scott Robbins Chief Information Officer PreSonus PreSonus has named Patrick Foucher to the newly created post of Chief Information Officer. In his new position, Faucher will oversee the streamlining and unification of the company’s communications infrastructure, focusing on end-user experience across the entire suite of PreSonus hardware, software and online solutions, as well as internal data and communication platforms. Faucher was previously the CEO and co-founder of Nimbit (now a part of the PreSonus family), where he was instrumental in creating the music industry’s most powerful direct-to-fan platform for musicians. Contact email@example.com. Patrick Foucher Executive VP, Head of A&R RCA Records Keith Naftaly has been promoted to Executive Vice President, Head of A&R, RCA Records. Naftaly previously held the title of Senior Vice President, A&R, RCA/JIVE Label Group. In this expanded role, Naftaly will oversee the pop and pop/urban A&R staff and will be integrally involved in all RCA releases. In addition, he will continue to handle A&R for specific artists on the label’s roster including Kelly Clarkson, Christina Aguilera, Sterling Simms, Elle King, Imogen Heap, Hot Chelle Rae, among many others. Naftaly has been with the RCA/JIVE Label Group since 2009. Contact meghan.kehoe@ rcarecords.com for more info. January 2013 www.musicconnection.com Keith Naftaly 9 NEW TOYS —BARRY RUDOLPH firstname.lastname@example.org AKG D12 VR Dynamic Microphone During the 1950s and ‘60s, the original AKG D12 was a popular announcer’s mic for radio and later television broadcast studios all over the world—almost a standard. So it was probably a fortuitous accident that a recording engineer rst tried it on a kick drum. AKG’s newly designed D12 VR large-diaphragm cardioid microphone is intended speci cally for kick drum recording. It is unique; it has three alternative operating modes (sounds) by way of a switchable active analog lter built into the microphone’s body. In standard dynamic microphone mode (without phantom powering) the original output transformer from the AKG 414 condenser microphone is in circuit and the electronics are bypassed and do not affect the sound or the mic’s operation. This is the best example of a vintage AKG D12 dynamic microphone and the mic’s thin, low mass diaphragm does a good job of capturing the loud transient, attack of the pedal beater hitting any kick drum. With phantom power on, having three other built-in response curves instantly makes the process of getting just the right bass drum sound faster, with less additional signal processing and with a lot less hassle. Four different sounds open up the mic’s use for many more applications—I’ve already gotten great results up close to bass guitar amps, toms and loud singers/rappers. The mic is rugged and I like the three, lighted lter switch positions (red, green, blue) my assistant switches through while I listen and enjoy in the control room. I’m getting back into using dynamic microphones more and more nowadays—especially around super loud sources and the AKG D12 VR greatly expands the range of possible by way one of the best new mircophone ideas I’ve seen in a long time. The AKG D12 VR sells for $499 MSRP. For more information about AKG, visit http://akg.com. Etymotic Music•PRO Electronic Earplugs The new MP-9-15 Etymotic Electronic Earplugs are like a “volume control for the world” for musicians, stage hands, music instructors—any one who uses their ears and wants to protect them when working in loud sound environments. The MP-9-15 electronic earplugs reduce sound level by as much as 15dB SPL without greatly altering frequency balance like regular earplugs. The MPs provide a way to have natural hearing until sound exceeds safe levels. Called wide-dynamic-range adaptive compression, their operation is automatic with nothing for the wearer to do but insert them in their ears and enjoy the concert. Each of the MP-9-15 earplugs uses a balanced armature driver (miniature speaker similar to in-ear monitors), a sensitive microphone and Etymotic’s proprietary K•AMP® signal processing to automatically and quickly change the sound level delivered to your ears. In the 15dB mode, the MP’s pass sound like an open ear until the external sound level crosses the 70dB SPL threshold and they begin a gradual reduction until it reaches 100dB. Also handled are any loud and sudden impact noises such as cymbal crashes that occur at any time. The 9dB mode boost all sound up to 85dB SPL but, starting at 70dB, the dynamic attenuation curve and overall operation is the same except 9dB less reduction overall. I received a pair for review and immediately liked that they do not require custom ear molds and come with a complete assortment of reusable foam, Glider, and three- ange ear tips, a cleaning kit, extra batteries and complete instructions. With MPs properly inserted and set to the 15dB position, it was amazing! A 100dB + SPL mix in my studio sounded great—full stereo with good stereo imaging and frequency balance—my speakers were throbbing loud but with the MP-9-15s inserted it was just a loud playback! Amazing to me was when I stopped playback I could hear the traffic noise from the street “fade up” into my ears and if people were talking, I would have been able to converse in a normal voice. 9dB mode works the same except everything is louder and better for musicians or older people with a threshold shift in their hearing. Now part of my kit in the recording studio for adjusting/changing microphones around loud drum kits or guitar amps while the musicians continue to play, Etymotic Music•Pro Electronic Earplugs sell for $399 MSRP. Check out http://etymotic.com or call 888-389-6684. Sony Creative SpectraLayers Pro SpectraLayers Pro™ is an audio editing software system that operates directly on the waveform spectra using a large palette of graphic/ image-style editing tools familiar to anyone who has used Adobe Photoshop. Separating components of a mixed stereo audio track (such as a nished music CD mix) into any number of separate layers for independent processing, mixing and then reintegration, it is now possible to achieve results impossible with any other DAW system. SpectraLayers Pro displays recorded stereo audio les by representing them in three dimensions: time expiry horizontally on the X-axis, frequency range vertically on the Y-axis and level, relative to other frequencies occurring at the same time is represented by brightness. Harmonic-rich and complex stereo music is easily seen as a vivid and colorful image instantly. Super precise audio restoration using SpectraLayers Pro editing allows the removal of unwanted noises, leaving the desired audio unaffected. You can separate music and dialog (or vocal performances) into individual component layers and repurpose the dialog or use only the music. All manner of processing is possible such as performing pitch correction or remixing the levels of the separated layers is possible as if using Photoshop to adjust the opacity or color balance of various layers of a high resolution image collage. SpectraLayers has many intelligent tools to help you extract audio into layers by selecting an area, frequency range and/or by a user-de ned harmonic series. The modi cation tools allow you to: amplify, clone or erase parts or all of edited sections of any layer including the original source layer. SpectraLayers Pro is for audio restoration, mastering, remixing/sound design, analysis and audio forensics tasks and is 32-bit 96kHz capable. In addition, it provides seamless le transfer to Sound Forge Pro and other audio editing programs such as Pro Tools. For MAC and PCs, SpectraLayers Pro is $399. Download it at http:// sonycreativesoftware.com. 10 January 2013 www.musicconnection.com Drum Workshop Collector’s Series Aluminum Snare Drum The Drum Workshop Collector’s Series® thin-shell snare drums add two new aluminum drums to its existing line made popular with the black-nickel over brass, titanium and stainless steel thin shell snare drums. Both the 5.5x14-inch and 6.5x14-inch aluminum drums feature a thin, 1-mm rolled shell and is said to have a warmer sound than a brass drum, but with just enough metallic sound to cut well. The thin aluminum shell is nished with a matte gray powder coat and has rolled bearing edges and snare beds. You get DW’s Custom Shop treatment with chrome hardware, a MAG™ throw-off system with 3P™ (3 position) butt-plate, True Tone™ snare wires, True Pitch™ stainless steel tension rods, 3-mm steel True Hoops™ and DW Heads by Remo® USA. Retail price for the 5.5x14-inch is $661.99 and the 6.5x14-inch goes for $692.99. I can’t wait to record one of these in the studio. Visit http:// dwdrums.com. The SessionsTM MH510 is the result of a decade long collaboration of experience and professional audio expertise. Conceptualized and designed for the accomplished performer — studio, live or playback — get ready to experience your favorite tracks the way the artist intended. For the Artist in all of us — SessionsTM by CAD Audio Also available in: Sessions MH510W Headphones Black MH510 Black/Orange MH510OR Black/Chrome MH510CR CAD Audio, LLC | 6573 Cochran Rd. Building I | Solon, Ohio 44139 cadaudio.com | 800-762-9266 January 2013 www.musicconnection.com 11 NEW TOYS —BARRY RUDOLPH email@example.com Sony DWZ Series Wireless The Sony DWZ Series of wireless microphone systems all use 24-bit linear PCM digital audio transmitted over the 2.4GHz band and come in four different paired, transmitter and receiver packages: the DWZ-B30GB Guitar Set, DWZ-M50 Vocal Set, the DWZ-M70 Vocal/Speech Set, and the DWZ-B70HL Headset and Lavaliere Set. Especially notable for a wireless system at this price point is that both the DWZ-M70 and DWZ-B70HL packages have advanced digital signal processing to minimize audio feedback and 128-bit AES data encryption for secure audio transmission. CAD Audio Sessions MH510 Headphones CAD Audio offers a pair of headphones with specs that rival or exceed that of the most expensive professional studio headphones you’d nd in a world-class recording studio. The result of a decade-long collaboration of experience and professional audio expertise, the Sessions™ MH510 headphones come with features and accessories found with studio phones starting at $300. You get an extra pair of velveteen ear cushions in addition to the included leatherette set. I like that you get both straight and curly cords and both have locking connectors to change/replace cords. Each pair comes with a leatherette carry pouch, a screw-on 1/4-inch stereo gold-plated adapter and, just for fun, there is a choice of black, white/red, black/chrome and black/ orange colors. I received a pair of all black MH510 headphones and immediately plugged them into my Aphex Systems Model 454 HeadPod studio headphone box. The MH510s have 26-ohm impedance, 50-mm neodymium drivers and a maximum power rating of 3-watts. You’ll distort the Aphex amp before overdriving them. Being able to handle up to 3-watts of power is the best headphone feature in the recording studio world. The voice coils in the drivers of studio phones will burn out with hours of excessive and constant volume levels— even when the headphones lay on the oor unused. Combine that with the “perfect storm” of physical abuse and accidental spikes caused by a bad/intermittent connection somewhere in the signal chain and you’ve got another set of dead soldiers. In my listening tests, I found that the MH510 headphones are built for loud playback with a thick overall sound with plenty of bass down to the subsonic. They are more efficient than my other studio phones—meaning more volume for the same power from the headphone amp. They are also slightly lighter weight, very comfortable and seal well over my ears for minimal headphone spill. The super-rugged and stylish CAD Audio Sessions MH510 headphones sell for $159 MSRP. For more about them, go to http://cadaudio.com/ MH510.php. Ideal and totally exible for modest installed sound applications, houses of worship, corporate board rooms or night club stages, the DWZ systems have two methods for 2.4GHz frequency selection and the rack-mountable receivers (shown) have an integrated color LCD plus a built-in digital program EQ. The receivers connect easily using either balanced and unbalanced audio outputs and the handheld mics support both Sony’s or any third-party’s interchangeable mic capsule. The DWZ-M50 Vocal Set includes an interchangeable cardioid dynamic microphone capsule for its handheld transmitter and a half-rack size receiver while the DWZ-GB30 Guitar Set goes with a body pack transmitter with guitar cable tone control and compact size receiver powered by an AC adapter, 9V battery or external DC. The DWZ-M70 Vocal/Speech Set includes an interchangeable cardioid dynamic microphone capsule for its handheld transmitter and half-rack size receiver and the DWZ-B70HL Headset and Lavaliere Set uses either a cardioid condenser headset microphone or uni-directional condenser lavaliere mic, body pack transmitter and receiver with advanced DSP functions. Check out http://sony.com/proaudio. PMC twotwo Series Powered Reference Monitors Professional Monitor Company (PMC) has two new handcrafted, 2-way powered reference studio monitors called the twotwo.5 and the scaled-up model, the twotwo.6 with the twotwo.8 version coming soon. The set of pre-production twotwo.6s sent to me for evaluation have a 6.5-inch LF driver, measure (H 406 X W 194 X D 364mm), and a useable frequency range of 40Hz to 25kHz. PMC’s Advanced Transmission Line™, an internal labyrinth within the cabinet, is used to load the bass driver and extend the low frequency response of this compact monitor. Both the twotwo.5’s and .6’s use the same 27-mm soft-dome HF driver, the same pair of Class-D power amps—150-watt LF and 50-watt HF, and both accept either balanced or unbalanced analog audio input by way of the rear panel XLR and RCA jacks. These monitors also accept digital audio input via a rear panel AES3 XLR connector and use their own onboard DSP for automatic sample rate conversion of all incoming digital audio to 24-bit/96kHz, internal A/D-D/A, user-equalization, crossover options and driver protection. With digital audio operation, two RJ45 connectors on the rear panel convey volume data and digital audio over standard CAT-5 cables to any number of PMC monitors daisy chained together. I’m very impressed but still experimenting with their setup in my small room. The built-in DSP works well to shape the monitors’ frequency balance to sound their best considering my small room’s inherent room mode issues along with my own monitoring preferences. They are an honest pair of monitors that make me work harder at perfecting the sound of my mixes. I like their look and styling; their deep cabinets and narrow width give them a diminutive look but sonically, they are far from unnoticed; they sound huge. The PMC twotwo.6s are big winners here at my Tones 4 $ Studios. Visit http://pmc-speakers.com for more technical details and information on both the twotwo.5 and twotwo.6 monitors as well as the entire Professional Monitor Company line of active and passive monitoring systems. 12 January 2013 www.musicconnection.com Steinberg Cubase 7 and Cubase Artist 7 The signi cant new features for both Cubase 7 and Cubase Artist 7 are the completely redesigned MixConsole mixers. The Channel Settings window speci es channel/track order for the all-new channel strip. MixConsole is laid out and looks like a beautiful, easy on the eyes analog audio console mixer. The channel strips have high and low-pass lters, a noise gate, fourband StudioEQ, three different compressors, a spectrum analyzer, tube/ tape saturation section, a brick wall limiter and a maximizer. You get Voxengo’s studio-grade 64-band spline CurveEQ, a large, built-in mix bus meter with a choice of various standards including Europe’s EBU R128 loudness for broadcasters as well as Bob Katz’s K-System metering. There is also VST Connect SE for Internet recording sessions and the latest version of MixConvert for high quality down mixing of multi-channel surround sound mixes. On the music composing side is Chord Track, a dedicated track within the Project window that identi es the music’s harmony structure and generates metadata about chord quality and scale. Changes in Chord Track can change the harmonic content of both MIDI sequences as well as audio tracks that have already been analyzed with VariAudio. Chord Assistant comes with Cubase 7 and provides the ultimate tool harfor songwriters looking for just the right chord and/or suggesting har monically related chord progressions. There are many new samples, instruments, and MIDI loops for HALion Sonic SE, Goove Agent and Beat Designer products. Steinberg also announced Nuendo 6, sharing many of the same great improvements now available in Cubase 7. Cubase 7 sells for $599.99 and Cubase Artist 7, at $329.99, is cross-platform and runs 32/64bit for Windows and Mac OS X Intel. For now, check out http://steinberg.net/en/products/cubase/ whats_new.html. Barry Rudolph is a recording engineer/mixer with over 30 gold and platinum RIAA awards to his credit. He has recorded and/or mixed: Lynyrd Skynyrd, Hall & Oates, Pat Benatar, Rod Stewart, the Corrs and Robbie Nevil. Barry has his own futuristic music mixing facility and also teaches recording engineering at Musician’s Institute, Hollywood, CA. http://www.barryrudolph.com January 2013 www.musicconnection.com 13 13 GET THE NEWEST, BIGGEST AND BEST BOOKS ON GUITARS AND AMPS By Dave Hunter of Vintage Guitar BOOK STORE For the Coffee Table... Jimi Hendrix - The Ultimate Lyric Book By Janie L. Hendrix (hardcover) $40 Jimi Hendrix was such an extraordinary guitarist, it can be easy to forget that just as much passion, soul and precision went into his lyrics. Inspired by Dylan, Hendrix was willing to let his imagination guide him to landscapes hitherto unexplored within the realm of pop music. From the existential euphoria of “I Don’t Love Today” to the elusive beauty of “Little Wing” to the psychedelic blues of “My Friend” to the otherworldly “1983 (A Merman I Should Turn to Be),” his lyrics remain among the most vivid in rock, infused with the same inventiveness, virtuosity, and courage that informed his guitar playing. Here are all the words to the Hendrix classics, as well as unpublished songs from Valleys of Neptune and other hitherto undiscovered sources. Compiled by Janie L. Hendrix, the book includes numerous examples of the artist’s handwritten lyrics, often scribbled on hotel stationery, as well as photos of Jimi to accompany every song. AMPED tells the stories of the world’s greatest amps, including Fender, Marshall, Vox, Dumble and more—with hundreds of photos, memorabilia, and the amps of the stars, from Jimi Hendrix to Stevie Ray Vaughan to Eric Clapton. 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Written by an expert in live entertainment, Gigging includes anecdotal stories showing what can go wrong. This useful little book is also available as an ebook at http://giggingbook.com. Gigging: The Book 14 January 2013 www.musicconnection.com BEST SHOW of reference monitoring all ways The ultimate in flexible compact monitoring TM Advanced Transmission Line twotwo.5 twotwo.6 twotwo.5 twotwo.6 twotwo.8 PMC’s new twotwo series 2-way active monitors make choosing and using a reference monitor easier than ever before. Plug in some audio, and you’re good to go, be it analogue or digital, in stereo or surround, on phonos or XLRs — and all A/D or sample-rate conversion is taken care of on board. 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All three twotwo models produce an expansive sound, their For the full low-down on what’s up, turn to www.pmc-speakers.com/twotwo T 949-861-3350 E firstname.lastname@example.org www.pmc-speakers.com January 2013 www.musicconnection.com 15 available at e are a four year college that takes sound seriously! Learn Audio Recording for Studio, Live Performances, Movies & TV UP-CLOSE By Jonathan Widran A Five Towns College 631.656.2110 Open House Saturday, January 12 at 1 PM www.ftc.edu 305 N. Service Road Dix Hills, NY 11746 • AUDIO RECORDING TECHNOLOGY • COMPOSITION/SONG WRITING • MUSIC TEACHER EDUCATION • MUSIC BUSINESS • MUSIC PERFORMANCE • MUSIC AL THEATRE • MUSIC TECHNOLOGY • MUSIC HISTORY fter 26 years as owner of his famed original studio on Larchmont (in Los Angeles) and a second location in North Hollywood, Skip Saylor (http://skipsaylor.com) made bold career decisions in the mid-2000s which brought him back to his original passion as an engineer and producer. After selling all but one roomful of his favorite equipment, he ew to New Zealand for a gig producing and engineering an album for the young funksoul-ska band Spaci x, which later won Album of the Year at the Paci c Music Awards. Inspired by this experience, Saylor began building a studio in the barn on ranch property he had purchased near the Van Nuys Airport. “All those classic rooms in town have high ceilings, which made my two story barn, with its natural acoustics, the perfect setting for my new room.” Saylor, credited on eight of Billboard’s Top 300 selling records of all time, brought a star studded history to his now thriving studio. Launching his career with gigs on classic projects like Tom Petty’s Damn The Torpedoes (under Jimmy Iovine) and The Wiz (Diana Ross and Michael Jackson), Saylor later engineered for everyone, from classic R&B artists like the Whispers to Mattel Toy commercials. His facility on Larchmont hosted many classic sessions, including Grammy winning k.d. lang’s Ingenue, Guns N’ Roses’ Use Your Illusion I & II, Ice Cube’s The Predator, Santana’s Supernatural, Boyz II Men’s II and Foo Fighters’ The Colour and the Shape. “While we do host sessions for outside clients, my studio was built around the idea of being an engineer/producer with my own space instead of a commercial facility,” Saylor says. “My other studios were successful, but I spent a lot of time running the business. These days, I don’t look at myself as a studio owner but as a producer/mixer with my own rig. I have a couple of young engineers I use on my projects, Ian Blanch and Lester Mendoza, and I love working in my own space where I have all the tools I need to make great recordings.” Having used some of the highest end new and vintage equipment, Saylor is selective in the gear he chooses to work with to ensure excellent sound. The centerpiece is the 100 input SSL that he has had since the mid-‘90s, which he calls “the best sounding board I ever owned.” Saylor’s wife, singer-songwriter Lynn Carey Saylor, has been endorsed by several amp and guitar companies, so the studio is full of Goodsell and Wizard Amps (which AC/DC uses) as well as guitars, a classic 1956 Hammond B-3, a Yamaha Grand, in addition to classic mics and outboard gear like an EMT 252, AMS Reverb and Delays and UREI Limiters and Compressors. In Saylor’s earlier days as a mixer, he often resisted the advice friends and colleagues gave him about the value of diversi cation. But with the new studio, that has happened naturally, and he has worked on a unique array of projects in recent years. Two recordings typifying Saylor’s slate of projects include vocalist/guitarist Jonathan Butler’s “Grace and Mercy,” which hit No. 1 on the Billboard Contemporary Jazz chart and No. 9 on the Gospel charts; and a self titled project for indie rockers Bootstraps (on Redeye Records, original label of the Black Keys), whose songs received 10 placements (Parenthood, Private Practice) even before the album was released. Songs from that project were also in an independent lm, which earned “Best Music in a Film” at the Nashville Film Festival. Saylor has recently been tapped to be Director of Sound for the animated lm, California Dreamers, the brainchild of writer-director-producer Jay Segura, which nds Saylor restoring 24-track tape recordings of hip-hop greats including Kurtis Blow, Melle Mel and Tone Loc. The soundtrack also features new productions. Earlier in 2012, he co-produced and mixed “High Off The Fame,” a Top 30 dance single by Candyman 187 featuring Snoop Dogg. Other projects include a single with Rap legend W.C. (Westside Connection) and European star Brainpower and material for Los Angeles acts Cease re, LA Velvet and End of Ever. Sometimes dubbed the Compound, Saylor’s facility has bedrooms, kitchens and living areas for artists to utilize during their projects. “I enjoy the diversity of work I do here,” says Saylor, “and I strive to offer the best tools for making the highest quality recordings, providing an environment where the artist is comfortable and can thrive.” Contact Skip Saylor, 818-300-0400 16 January 2013 www.musicconnection.com THE ONLY U.S. MUSIC CONFERENCE 100% DEDICATED TO SONGWRITERS AND COMPOSERS! TAKE YOUR MUSIC TO THE NEXT LEVEL The ASCAP “I Create Music” EXPO puts you face-to-face with the most successful songwriters, composers and producers who generously share their knowledge and expertise. HURRY! Deep Di sco Pricing unt Ends Soon Celebrity Q & A’s Master Classes Songwriting & Composing Workshops Publisher & Business Panels DIY Career Building Workshops Showcases and Performances Attendee Song Feedback Panels Networking Opportunities State-of-the-Art Technology Demos Leading Music Industry Exhibitors ONE-ON-ONE SESSIONS We are excited to again oﬀer the tremendously popular One-on-One Sessions – a valuable opportunity to spend 15 minutes with a songwriter, composer, music supervisor or music industry executive. Register early because they ﬁll up fast. Connect with ASCAP EXPO on Twitter and Facebook to ﬁnd out news, panelists, programming, and connect with other attendees: twitter.com/ascapexpo and facebook.com/ascapexpo LOEWS HOLLYWOOD HOTEL, LOS ANGELES APRIL 18-20, 2013 REGISTER NOW at www.ascap.com/expo OPEN TO ALL MUSIC CREATORS REGARDLESS OF AFFILIATION #ASCAPEXPO ROCK OUT. CASH IN. ASCAP pays members for live performances at venues of any size. January 2013 www.ascap.com www.musicconnection.com 17 STUDIO MIX SPOTIFY RELEASES “LIVE IN STUDIO” SESSIONS: Spotify has partnered with Spoon drummer and acclaimed producer Jim Eno to record exclusive “live in the studio” Spotify Sessions with the Shins, Michael Kiwanuka, Father John Misty, Polica, Gardens & Villa and Tennis. All Sessions were recorded in Eno’s state of the art studio, Public Hi-Fi, in Austin, TX (when the bands were in town for Austin City Limits). The producer-engineer did two-a-days: Twice each day, a band rolled up in their van or bus, loaded in all their gear, got levels and cut several tracks live in the studio. Visit http://spotify.com. SILVERLAKE UPGRADES TO ARGOSY: Full-service audio post production facility Silverlake Sounds has acquired an Argosy Dual 15 Workstation for its main room, Studio A, which is occupied by owner Jason Altshuler, a veteran television and lm sound mixer and editor. The boutique post sound shop specializes in mixing for feature lms, on-air promos, animation and trailers, and also provides in-house music supervision, editorial, voiceover recording, ADR and foley services, and custom music production. Silverlake Sounds, which encompasses ve studios at its Burbank, CA location, including an ADR/voiceover recording room, focuses on promotional packages for network television shows. See http://silverlake sounds.com. “Pay attention to an artist’s live show. If an audience doesn’t respond, [the song is] probably not going to be that great. Anytime I’ve had success with an artist, they’ve had a great live show. If an artist fails, chances are their live show sucks.” Interviewed in MC November 2012 Jerod Harris/WireImage Solange Knowles and writer, producer, artist and author Devonté “Dev” Hynes (aka Blood Orange and Lightspeed Champion) celebrated at Los Angeles, CA’s Sonos Studio with a listening party for the new EP True. At the event, Knowles danced to her own music, played for the crowd and shared with friends and fans what inspired the eclectic sounds of True. Notable attendees included Andy Samberg and Joanna Newsom, Akiva “Kiv” Schaffer, Jorma Taccone, Kelly Rowland, BJ Panda Bear and more. Pictured at the event (l-r): Schaffer, Samberg and Taccone (all members of the Lonely Island). // Solange Knowles True Listening Party // Fresh off their win at the LA Music Awards for Best New International Band, Australian act the Monks of Mellonwah tracked their new record with producer Keith Olsen at the Studio at the Palms, in Las Vegas, NV. The band were also one of Music Connection’s “Top Prospects of 2012.” Pictured (l-r): members Joshua Baissari and John de la Hoyde; engineer Rob Katz; producer Keith Olsen; engineer Kevin Luu; and members Vikram Kaushik and Joe de la Hoyde. // Monks of Mellonwah Track In Vegas // David Goggin // Corey Smith Records Junkyard Revival in Memphis // For his ninth album, Junkyard Revival, popular touring artist Corey Smith picked Ardent Studios in Memphis, TN, and renowned engineer John Hampton (White Stripes, Gin Blossoms, Replacements) to capture his new tunes. Pictured (l-r): Mike Wilson, second engineer; Antwane McMullin, drums, percussion; Corey Smith, vocals, guitars; Lee Davis, keys; Kris Dale, bass; Mike Hines, guitars, background vocals; and John Hampton, engineer. Visit http://www.ardentstudios.com. 18 January 2013 www.musicconnection.com By blending traditional bluegrass technique with modern songwriting themes, Boston based group Della Mae are bringing a fresh perspective to their music. When the members of the band decided to step up the quality of the group’s live performances and achieve more mobility on stage, they chose DPA Microphones. Dedicated to crafting exquisite American roots music in the tradition of such greats as Willie Nelson and Johnny Cash, Della Mae sought out the DPA mics for maximum mobility and to bring out the best sound from their instruments. // Della Mae Go Wireless With DPA // STUDIO MIX —ANDY MESECHER email@example.com TIM SHAHADY Producer-engineer Matty Amendola (pictured) has been keeping busy with his 825 Records’ Studios in Brooklyn, NY. The knob twister recently completed recording/producing music for a “Live at Lincoln Center” commercial as well as composing a music library for MetLife. He also began producing/recording/ co-writing/playing on Jody Porter’s (Fountains Of Wayne) new solo album. On top of production duties, Amendola is now stepping outside the box and launching Froductions, a label-like service company for indie artists. For contact information on all endeavors, visit http://mattyamendola.com. // Amendola Looking to Pick Froductions Artists // Blue Microphones has unveiled a $3.5 million state-of-the-art home recording studio, designed and curated in collaboration with multi-Grammy-winning mixer and producer Jack Joseph Puig, Vintage King, SSL, Audio Perception, JSX Audio and several other high-end audio partners. The studio is equipped with the complete line of microphones from Blue, vintage equipment from Vintage King, the world’s first wraparound SSL Duality console and custom Barefoot speakers. Not just limited to the studio, the entire house is hot-synched with mic cable, fiber optics and digital lines so that artists can record anywhere, including the great room, library and outdoor stage. Pictured is Season 7 Idol contestant and Warner Bros. artist Josiah Leming trying the outdoor recording stage above a spread of the main mixing room. // Super Home Studio Includes Blue, Vintage King, Audio Perception, JSX Audio, more // David Goggin Rock icon Izzy Stradlin has released “Baby Rann,” a track that was recorded and mixed in Ocean Way’s Studio B in Los Angeles, CA. Joining Stradlin on guitar and vocals in the studio were Rick Richards on lead guitar, J.T. Longoria on bass, Joey Huffman on Hammond organ, and Taz Bentley on drums and backing vocals. Longoria also served as recording engineer with Scott Moore assisting. Pictured in session at Ocean Way are (l-r): Longoria, Bentley, Stradlin and Huffman. “Baby Rann” is now available on iTunes. // Izzy Stradlin Cuts “Baby Rann” at Ocean Way // Senses Fail are currently recording their fifth full-length album in Burbank, CA. Guitarist Zack Roach has been chronicling the band’s experience in the studio and living in Los Angeles (http://bit.ly/VNwoGp). The New Jerseynatives are working with producer Shaun Lopez (Far, Deftones) at The Airport Studio and Red Bull Studio. The album is expected to drop in spring 2013. Senses Fail have also announced dates for a UK tour in 2013. // Senses Fail Travel to Burbank For Fifth Album // Top studio designers choose Argosy...so can you. Studio Furniture: - Consoles - Workstations - Rack Enclosures - Speaker Stands - Herman Millerd Chairs Dream Studiod... starts www.ArgosyConsole.com Photo courtesy: Newmastering Studio; Milano - Italy Toll-free Your here. January 2013 G-series console for Presonusd StudioLive 800.315.0878 or 818.934.0144 a2012 Argosy Console, Inc. Argosy and Dream Studio are registered trademarks of Argosy Console, Inc. See the coolest studios in the world, visit: dreamstudioblog.com www.musicconnection.com 19 PRODUCER CROSSTALK Matt Serletic From Collective Soul to Virgin Records CEO to Emblem Music By Rob Putnam P 323.363.2339 w w w. m i k e w e l l s m a s t e r i n g . c o m roducer, Grammy winner and former CEO of Virgin Records, Matt Serletic joined his rst band when he was barely a teenager. That out t went on to become Collective Soul, an act he has produced. Serletic studied music at the University of Miami and, after recording informally with a number of acts, segued into the role of producer. He’s since worked with a myriad of artists including Gloriana (signed to his label Emblem Music), Santana and Joe Cocker. Mega-sellers Matchbox Twenty is another band on his label and he has produced all of its records includ- The three most important things ing North, which was recently No. 1 on he’s learned as a producer are: the Billboard 200. • Listen to the song before you Before setting foot in a studio, judge it; to what the artist is trying Serletic likes to map out a plan for a to do and to what your equipment record. “I start with the song and not tells you. even in the studio,” he says. “I like to understand the material [ rst]. And • There are no rules. It’s easy to say whether I’m writing or not, I try to get that you start a song with a drum involved deeply with each song, try to set and have this procedural conhelp impact the quality and understand struct. That doesn’t have to be. how there can be a unique arrangement ahead of time so I’m not going in • Keep working. An easy way for the blind. You have some vision for each world to pass you by is to get out song and for how the whole album is of the mainstream and stand on the sidelines. One of the great things going to shape up.” Knowing where to start a record is about music is that you can make it one thing. Knowing when and where when you’re 80. Look at Joe Cocker to end it is quite another. “That’s some- and Willie Nelson. thing you learn over time,” the producer explains. “Often I’ll tear down a record and build it back up in a rough mix. It ensures that the rhythm is appropriate. The record has to move, it has to have a sense of motion. Sometimes an arrangement can get over-baked if the momentum is stopped. On the other hand, there’s a real reason to add more if the motion doesn’t continue. Sometimes what’s delightful is that the last thing you put in ends up supplanting something that was there earlier and you’ve got this great combination.” Serletic foresees a signi cant expansion of producers’ and engineers’ roles in coming years. “It’s a challenging time to remain narrow in your career outlook, though the skill sets are valuable,” he says. “The world is going in a different direction. You have to be involved in more of the creative process, whether that’s helping nd or develop acts. A lot of that is being left to the person that’s going to roll up their sleeves and work with the artist. Traditionally, that was the record label’s role. A producer that does artist development, marketing and even coaching helps grow their own career.” Emblem Music identi es likely artists by going to clubs and, of course, by scouring the Internet. But unearthing a band that enjoys a strong online presence by no means guarantees success. “The challenge is to have something worthwhile behind that,” Serletic observes. “You can have big social media numbers but you have to be able to perform live or have something unique that’s going to catch the public’s eye and ear. Doing well online is a great way to get discovered but you have to be able to stand up to scrutiny after that.” As someone that runs a record label and a production company, some of Serletic’s upcoming projects are records that are already in release. For example, Gloriana’s A Thousand Miles Left Behind dropped earlier this year. But he’s working with the band to choose singles and plan videos. He is also involved with Matchbox Twenty’s tour plans. Additionally, he’s developing a free app called Zya that will allow users to get involved in music making. It is expected next year. Contact Alia Fahlborg / Nettwerk Producer Management, 323-698-1845, firstname.lastname@example.org 20 January 2013 www.musicconnection.com January 2013 www.musicconnection.com 21 EXEC PROFILE —ANDY KAUFMANN Debbie Cavalier VP, Online Learning and Continuing Education / CEO Berkleemusic Years with Company: 14 Address: Berklee College of Music, 1140 Boylston St., MS-855, Boston, MA 02215 Phone: 617-747-2147 FAX: NA Web: berkleemusic.com E-mail: email@example.com Clients: NA veloped in a way that makes sense for that population. Making Things Flexible: Our president, Roger Brown, would like to see the effective undergraduate students have the opportunity to take two years of study with the online program, from whatever country they live in, and then those credits would transfer in and they could come to Boston for two years. It would really make it more affordable. Another thing is that a lot of our students have opportunities, with the potential of never coming back. Perhaps they could study Online with us while they’re on the road and then continue when they’re nished. We think of the Online school as a tool to help the undergraduate population in so many ways. The Global Classroom: We often get faculty and students who are surprised by how [the international nature of Online] enhances instruction so much. You might be in a music licensing course and everybody’s focused on ASCAP / BMI for performance rights organizations. But then you have students from all over the world talking about how it’s handled differently with their organizations. It adds a whole new dimension and really makes a difference. Every course bene ts from that international mix. Real World Experience: It makes a difference to our students to know that we’re applying the things we’re teaching to a real music project. Whether it’s marketing or production or songwriting, I’m learning from our courses and faculty in the same way our students are and applying it to a real music project and seeing the results. I don’t think I’d be effective in my role without that experience. Learning Whatever’s Necessary: We are branching into other areas of study. To be a musician today, it’s really important, for example, to have a visual presence with your music. My songs on YouTube get a lot more attention than my songs that are just on iTunes. So we have courses we’re developing in photography and video editing. We’re trying to arm musicians with the skills they need. It’s about whatever our students need and we’re really proactive in asking them what they want Knowledge for Free: There are so many resources available Online. We have sample lessons freely available, our YouTube channel has hundreds of lessons. We even have a website called Berklee Shares, where we have free Berklee lessons. If you go to http:// coursera.org/berklee, you’ll see the rst four free courses we’re offering. It’s a wonderful time to be in charge of your own career and there are a lot of educational resources out there, especially from Berklee, to help support that. BACKGROUND: Having graduated from Berklee College of Music in ‘87, Debbie Cavalier became the prestigious school’s Dean of Continuing Education ten years ago. As part of the group that founded the institution’s online wing, the newly named CEO has been a critical component in the design of their digital version. Cavalier is also a working musician, fronting the lauded children’s group Debbie and Friends, one of whose songs appeared on the 20ll Grammy winner for Best Children’s Album. Best Online Course award from the Computing Ed Association across all disciplines. From Ashes, Something Big: We started in 2001. That was around the dot com bubble burst, so there were a lot of talented people looking for employment in a more secure working environment. There were people available, really talented people, who are still with us today. A lot of people didn’t believe you could teach music online, but we were able to prove we could. We started with just a couple of courses each other and many of them go on to collaborate after the courses end. A Technological Advantage: We’ve built tools that make it really nice for students. Rather than having an instructor mic their critique of a student, they can click a button and record a voice over. We’ve got a built in video tool, so right from the learning environment you can record yourself. We have the same “like” features you see on Facebook, so, if a student’s assignment has a particular note, a teacher can highlight it or another classmate can “like” it “Our faculty can’t believe how much they interact with the students, how much the students progress, how close they feel to the students and the students feel to each other. A real community forms with these courses.” Educating Young and Old: I majored in music education and taught for many years in public schools. As I taught, I found my way into music education and publishing. A lot of the methods I was using and chord arrangements I was writing I was able to get published. I eventually left teaching to be a full-time music education publisher with Warner Bros. So I went from being a music educator to being a music education publisher and then, in the late ‘90s, I came back to Berklee to run Berklee Press. A couple years into that, I became the Dean of Continuing Education, which included the Online school. Long Distance Learning: Berklee has a long history in continuing and distance education. In the ‘60s and ‘70s, there was a distance learning course through the mail. You’d get 25 lessons, ll out your time and mail it back. So becoming an Online distance learning leader was just part of Berklee’s DNA. Berklee’s really good about looking ahead and thinking about where we want to be, so [the online school] was part of the strategic vision for the college. This year alone, we’ll teach 12,000 students from 150 countries in our online school. For the past eight years, we’ve won the 22 January 2013 in the rst year and they were wildly successful. Now, we’ve got a catalog of about 125 courses and we’ll be offering online degrees in 2014. The Teach Act: The sky was the limit as far as what we could do, unlike book publishing where you can’t use copyrights without licenses and restrictions. Right when we launched the online school, congress passed something called the Teach Act, which enables accredited, online, password protected educational institutions to use copyrights in the way you would in a classroom, so we could teach music in a way that we would in a classroom. There were no restrictions. A Learning Community: Our students are primarily adult learners between 25 and 45. They’re passionate about music. A lot of them dreamed of going to Berklee and never had the opportunity. Our faculty can’t believe how much they interact with the students, how much the students progress, how close they feel to the students and the students feel to each other. A real community forms with these courses. It’s a powerful, life-changing experience for a lot of people. For the 12-week experience, they’re working with each other on a daily basis, critiquing and it bubbles up accordingly. The tools are really robust. We have a video chat environment as well, so every week the instructor holds an hour-long chat session. Going Legit: For the past 10 years we’ve been doing continuing ed, so students pretty much self-assess, although we have a team of student advisors who help students nd the right course or certi cate program. We have programs that range from three to 12 courses. There’s currently no true application and admission process, but when we offer degrees in 2014 there will be. Students will be accepted into the program rather than just enroll. Physical Meeting Virtual: Up until now, [the schools have] been very separate, in that we serve two different audiences. On campus is typically the 18 to 22 year old undergraduate, full-time musician. Only 30 percent of the students who apply are accepted, so it’s a very special group we bring to Boston. The online school is typically adult learners, professional musicians who are trying to hone their skills or advance career opportunities. It’s a very different audience, but the on campus program is leveraging a lot of the Online efforts that we’ve de- www.musicconnection.com M BUSINESS AFFAIRS ference is slated for the Diamond Starr Hyatt Regency in Greenwich/ Stamford, CT in September 2013. It promises to be packed with industry pros and will have seminars offered by some of the most notable superstars and insiders in the biz, including execs from Capital Records, Island Def Jam and J Records. You can get more information at http:// conference.longemagazine.com and http://longemusicians.eventbrite .com. The deadline for submissions is March 2013. • MIDEM has announced that Mark Hoppus, co-founder of the rock band Blink-182, will be sharing his experience in the “Artists Speak to Artists” sessions, a series of conversations between artists and the audience that promise to be a key attraction at MIDEM’s Direct2Fan Camp. Other acts con rmed for the “Artists Speak to Artists” program include singer-songwriter Julia Nunes, an indie sensation with over 50 million plays on YouTube and who raised $77,888 through crowdfunding platform Kickstarter; and Paul Miller, aka DJ Spooky, a multimedia artist whose DJ app has clocked up more than 10 million downloads. The Direct2Fan Camp will run throughout the four-day event. MIDEM is a yearly event dedicated to the music business, which takes place at Cannes, France (the French Riviera) from Jan. 26-29, 2013. Please visit http://midem.com. • For those who like contests, check out Audiocomps. This website has an ongoing list of music contests for artists, bands, songwriters, DJs, music producers and more. You can even win some great cash prizes. The list is constantly updated and current. Go to http:// audiocomps.com for details. • The Telluride Troubadour Competition is open for submissions. usic 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. SWEDISH GUITARIST INKS LONG-TERM DEAL Nineteen-year-old Swedish guitar star, Sebastian Hansson, has signed a longterm management deal with Another Pretty Face (APF) Management and indie label, Allure Records. Hansson achieved fame in his native Sweden with the rock band Huntington, which he fronted. He explains, “I came to America to study and become a successful artist. And, now, I’m getting that chance.” Hansson, who visited Sweden for the holidays, is returning to the US to work on his first CD of original songs for release in America. APF Manager John Elcar says, “Some of the songs Sebastian wrote prior to leaving Sweden are naturals for the American pop/ rock audience.” Contact sebastianhansson_2@ hotmail.com for more information. This event is a nationally recognized competition open to anyone who writes and performs original music and who is not currently signed to a major recording or publishing deal. Contestants are judged on the quality of composition, vocal delivery and overall performance. Finalists are awarded cash and prizes, as well as critical acclaim, well-deserved recognition, and a chance to perform on the festival main stage. Submissions will be accepted until April 13, 2013. For additional information, visit http://bluegrass.com/ telluride/contests. musicians including, will.i.am, Max Martin, Benny Blanco, Cirkut, Bonnie McKee, Wayne Coyne, Iggy Pop, Patrick Carney, Ben Folds, Greg Kurstin, Kojak, Ammo and Billboard. Ke$ha says, “I am so excited to nally share this record with all of my amazing ‘Animals.’ I’ve been working for a year on this record and have collaborated with some of my idols. This process has been long and intense and I couldn’t be more stoked.” To check it out, visit http:// keshasparty.com. OPPS • Kong Monster Rock, an Internet radio show hosted by the infamous Buddhaman, is seeking rock acts. A former DJ with KROQ, Buddhaman is jonesing for great rock bands. He will not only play music from up-and-coming artists, he’ll also invite them to perform live (acoustically) on the air. Broadcast to over 100 countries, the show reaches 10,000 listeners per month. The program is part of the Radio Domination Streaming Network (RDSN) (http://rdsn.net) located in Sherman Oaks, CA. Anyone interested can contact buddhaman999@ gmail.com with information about your act and links to your music. Additionally a new show that is also part of RDSN caters to metal fans. Called Monster Metal, it is broadcast on The Razor KXRZ and is hosted by the “Queen of Metal” herself, Ondrea Faillace. Andy Freaking Ford is the Music Director. Metal acts can go to http://rdsn.net/ kxrz for submission details. • The Longe Media Conference 2013 Music Expo is currently looking for talented musicians to take part in showcases. The con- MOTÖRHEAD FIGHT FOR THEIR FANS Motörhead love when fans buy their records, but not this time. A new box set, called Complete Early Years, was released by a company that owns the rights to the band’s early recordings and they are charging $600 for it. The band wants to make sure fans are aware that they have no involvement in releasing such an expensive box set. Motörhead’s iconic frontman, Lemmy, said, “Unfortunately greed once again rears its yapping head. It really bothers me that these people would put this out at these prices, especially in this day and age, when money is tight. There you go again labels, trying to squeeze out every last dime from our fans.” To get the latest, go to http://imotorhead.com. • Victory Records has announced that the Reverend Horton Heat has joined the Victory roster. The Rev comments, “We are very excited to be a Victory band. Since • Susanna Hoffs gave a special we are going to get back to doing holiday treat to music lovers, some edgier stuff, it makes perfect From Me to You, a three-song EP sense to be on this label.” Ready to of some of her favorite 1960s gems. revive a genre that’s been watered A “labor of love” in her words, the down, the Reverend and company EP features her interpretations of have jump started their headlinthe Jaynetts’ “Sally Go ‘Round ing Stewed, Screwed & Tattooed The Roses,” the Beatles’ “All tour that will ignite over 57 cities I’ve Got to Do” and the Zombies’ across the US through 2013. You “This Will Be Our Year.” “It was can watch for their Victory Records a pure pleasure to record songs debut at http://reverendhortonheat. that I adore and have dreamed com. of singing for years,” Hoffs says. American Songwriter noted, “The • Attention young girls: prepare to honey-voiced songbird delivers a lose your voices. Ryan Cabrera solid album with a feel-good vibe, is teaming with Teddy Geiger and which sounds authentic in its union Tyler Hilton for a 2013 Acoustic of 1960s simplicity and 2012 sophis- Series tour. The “I See Love” singertication (à la Dusty Springfield songwriter Cabrera announced he meets Adele).” To check it out, visit will be going out on tour with “For You I Will” singer Geiger, and One http://susannahoffs.com. Tree Hill actor Hilton. The three • Global superstar Ke$ha has are planning to steal the hearts of released her sophomore album, ladies across the country. Fans will Warrior, through Kemosabe/RCA also get a chance to meet Cabrera Records. Executive produced by himself with the VIP upgrade, which Kemosabe Records head Dr. Luke, includes a Q&A, a signed Tourthe album features tracks written speci c “Doodle” poster, and a comby Ke$ha, as well as collabora- memorative VIP laminate. For more tions with producers, writers and information about each show, you LABELS • RELEASES • SIGNINGS January 2013 www.musicconnection.com 23 BUSINESS AFFAIRS can visit http://ryancabrera.com, http://tylerhilton.com or http://face book.com/teddygeiger. • Never before heard music by legend Townes Van Zandt is being issued in a two-CD set via Omnivore Recordings. Omnivore will give listeners more to discover when the 28-song, two-CD set is released in February 2013. The recordings that comprise the set have been hidden away since their initial recording and are now presented with the cooperation of Van Zandt’s estate. Following 10 studio albums, several singles and several live albums, the troubled life of the in uential singer-songwriter, performer and poet came to a close on New Years Day in 1997. Now, after many years, a set of previously unavailable music from the Texas artist’s classic albums High, Low & In Between and The Late Great Townes Van Zandt is being presented to the world. One disc features outtakes and alternate takes/mixes of tracks from those LP sessions; the other highlights solo demos. For additional information, go to http://omnivorerecordings.com. really means a lot to me. These are my people that got hurt. This is my neighborhood.” To nd out more, or help out, go to http://hallandoates. com. • Dave Grohl has been confirmed as Keynote Speaker for SXSW Music 2013. The keynote will take place on Thursday, March 14, 2013 at the Austin Convention Center, the hub of SXSW Music events. The South by Southwest Conferences & Festivals (March 8 - 17, 2013) offer the unique convergence of original music, independent lms, and emerging technologies that foster creative and professional growth alike. You can visit http://sxsw.com to view a schedule of all events. • Christmas song hopes to save donkeys. Canadian singer-songwriter Gerry Asmus has released a Christmas song “Who Is This Child? (The Donkey Song)” which he is hoping will raise much-needed funds for Safe Haven for Donkeys in the Holy Land, a charity helping donkeys in Israel and Palestine. Asmus says, “When I was asked to write a Christmas song, I wanted to approach it from a different angle, so I thought… what about the donkey? It allowed for a retelling of the Christmas story with a child-like innocence, and at the same time would raise funds for a cause that helps donkeys in need.” To learn more about the cause, go to http:// safehaven4donkeys.org. • The Ronnie Lippin Cancer Support Program, a newly designed program which provides emotional and social support for people in L.A. with cancer, is going beyond the medical model. The Program is looking to provide —BERNARD BAUR Jay Hurtado and Nambo of Vinyl Soul are relentless DIYers. Their work ethic has brought them tremendous results. And, they’ve accomplished it all on their own. The ultimate buskers, Vinyl Soul play their unique form of hip-hop Latin soul on the streets, from Hollywood to Japan. In fact, they toured East Asia for six months on their own dime. There, they played the streets and house concerts, which landed them gigs on Japanese TV, as well as radio airplay and writeups in local publications. The American Navy even offered them an “all expenses paid” tour the following year. Upon returning to the states, they won Wrigley’s “Vive tu Musica,” a nationwide battle of the bands, and received 32 hours of studio time in which they managed to record a 15-track album. They then toured Mexico in support of it. Along the way, Vinyl Soul scored opening gigs for Latin Grammy winner Daddy Yankee at the Hollywood Palladium, and Grammy winner Camila at the Gibson Amphitheater. That exposure not only spiked their social media numbers, it got them an invitation to open for Grammy winner Natalia Jimenez in Dallas TX, which was a series of concerts for FOX’s new channel MundoFOX. That led to a nomination on MTV’s Tr3s for “Best Breakout Band Los Angeles,” and the chance to perform at “Oscars Night America.” This year, they completed their latest self-produced full-length, Dream, which was mixed by Bob Lanzner. (Prince, Snoop Dogg). Visit http://vinylsoulmusic.com. PROPS • Daryl Hall & John Oates are working with Borgata Hotel Casino & Spa and Live Nation to raise money in an effort to bring relief to Atlantic City and surrounding areas in the wake of Hurricane Sandy. “In light of the devastation that Hurricane Sandy caused, we’re going to donate 100 percent of the proceeds from our sold-out show at the Borgata to the Red Cross. We will also be selling an event T-shirt with all of the proceeds going to the Red Cross, as well,” says Hall. “This Have a successful DIY strategy to share? Email firstname.lastname@example.org. BETH HART’S BANG BANG BOOM BOOM Jeff Katz emotional support and eliminate barriers to services which may include issues such as transportation, nancial support, housing, employment counseling and legal referrals, to name a few. The program is named after Ronnie Lippin, one of the great all-time music publicists who passed away from a rare form of breast cancer in 2006. The Lippin Family Trust which is funding this program through Tower Cancer Research Foundation, has also funded an information and resource line for cancer patients as well as research grants aimed at nding cancer cures. Contact email@example.com for more details. efficient, we see an opportunity to provide our clients with centralized resources to more effectively develop their projects given the new realities of the marketplace,” said INgrooves Fontana President Dave Zierler. • The National Conference of Personal Managers (NCOPM) has filed a federal lawsuit challenging the constitutionality of the California Talent Agencies Act (TAA), which only allows “licensed” talent agents to procure employment for artists. “The provisions, interpretation and enforcement of the TAA have resulted in personal managers being unfairly singled out without due process and denied the ability to pursue lawful business opportunities to the detriment of all personal managers and the artists which they represent,” said NCOPM President Clinton Ford Billups Jr. MICRO-BIO: Voted one of the “Top Music Business Journalists” in the country, Bernard Baur 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. THE BIZ • INgrooves Fontana has created INresidence Artist Services, an in-house artist marketing and promotion division. INresidence will provide select clients with streamlined access to product management, radio and video promotion, sync licensing, online marketing, publicity support and branding and sponsorship services. “As more artists release music independently and independent labels look to become more Armed with one of the most heart-wrenching voices of our era, and a backstory packed with incredible opportunities and lamentable loss, Beth Hart will release a new album, Bang Bang Boom Boom, on April 9, 2013 via Provogue Records/Mascot Label Group. Produced by Kevin Shirley (Aerosmith, Led Zeppelin), the album features 11 blues, cabaret, rock, jazz and soul-influenced tracks, all written by Hart and recorded live at Shirley’s Malibu, CA studio. The record is a life-changing endeavor for the Los Angeles born artist, who brought her life experiences, both positive and negative, together for what one European outlet called “a career-defining album.” For additional details, visit http://bethhart.com. 24 January 2013 www.musicconnection.com “My #1 Country Hit Started With a Phone Call to TAXI” Elliott Park – TAXI Member Photo: Elliott (left) with publisher, Michael Martin used to think that living in Clyde, Texas (Population 3,345) really limited my chances of ever having success in the music business. But all my friends and family members live here, so I’ve never wanted to move to Nashville. Although I love to write songs, I felt isolated when it came to getting them heard by anybody in the music business. Then a friend told me that TAXI would bring real opportunities for my music right to my front door. I signed up and sent in songs that I demoed with my digital piano in my little home studio. The A&R people at TAXI liked my songs and began sending them off to some pretty high-level people in Nashville. All the sudden, doors started opening. With the connections I made through TAXI, I began to have meetings with some of Country Music’s top executives, and signed a staff writer deal with a great publisher in Nashville. I Over the next three years, my songs were considered by a Who’s Who of Country Music, but the “big cut” eluded me. I learned to be patient and worked even harder on my songwriting. Then, my publisher hooked me up with veteran songwriter, Walt Aldridge. Together, we wrote a song called, ‘I Loved Her First,’ and finally, I hit pay dirt! The group ‘Heartland’ cut our song and released it as a single. It started out slowly, then gained Tim McGraw, Rascal Flatts and Faith Hill Put My Songs on Hold momentum, and eventually made it all the way to the Number One spot on the Billboard and R&R Country charts. Could that have happened without TAXI? Probably not. Although there were many people that helped me once I signed my publishing deal, it was TAXI that made that all important first connection for me. And I didn’t have to leave my hometown to do it. I Used a 4-Track #1 Hit on Two Charts! If your music is competitive, the answer is yes! And if it’s not quite ready yet, TAXI’s A&R people will help you with that too. You’ll also get two FREE tickets to TAXI’s world-class convention with your membership. Just one ticket for some other conventions cost twice as much as your TAXI membership! Make the phone call I did, and see what TAXI can do for you – no matter where you live. Can TAXI do the Same Thing for You? The World’s Leading Independent A&R Company 1-800-458-2111 January 2013 www.musicconnection.com 25 SIGNING STORIES Marc Broussard Date Signed: September 2012 Label: Vanguard Records Type of Music: Soul/Pop Management: Eric Baker, firstname.lastname@example.org; Doug Shaw, email@example.com Booking: Lynn Cingari, firstname.lastname@example.org Legal: J. Reid Hunter / Serling Rooks & Ferrra, LLP, email@example.com Publicity: Lucy Sabini / Vanguard Records, firstname.lastname@example.org Web: http://marcbroussard.com A&R: Kevin Welk Angie Johnson Date Signed: 2012 Label: Sony Nashville Type of Music: Country Management: B. Craig Campbell, Vanessa Davis / The POD Booking: CAA Nashville Legal: Michael Johnson / Katy Griffin Emkema & Colbert Publicity: B.Craig Campbell, Vanessa Davis / The POD, email@example.com Web: http://officialangiejohnson.com A&R: Lisa Ramsey W hen a label makes a good impression on an artist, it can pay large future dividends. Louisiana-based singer-songwriter Marc Broussard witnessed that firsthand after working with Vanguard Records briefly before being snapped up by Atlantic Records. “Years ago, between my Island Def Jam contract and my deal with Atlantic, I signed a one-off deal with Vanguard for my record S.O.S.: Save Our Soul,” the artist explains. “I found that experience to be highly enjoyable. Unfortunately for Vanguard, Atlantic stepped in and made me an offer I couldn’t refuse. I was a little too young and näive to understand the implications of what I was embarking on.” B efore following her dreams to be a country singer, Angie Johnson enlisted in the US Air Force, to follow another dream. After serving in the Middle East, she resumed her action of a different kind. She used her GI bill to go back to school. Then, to further her music prospects she launched a Kickstarter campaign to raise money to fund a professionally produced demo. “I raised $30,000 in 30 days,” says Johnson. “The next thing I knew, I had a call to meet with the president of Sony Nashville!” It wasn’t quite that instantaneous. Someone she knew from the scene–– Grammy-winning producer, songwriter, former label head and guitarist Josh Leo––had mentioned Johnson’s name to Sony Nashville's Lisa Ramsey, who highly recommended the artist based on her online performances. In a novel move, the label offered to match her Kickstarter funds to enable Johnson to make an EP, which is slated for a Spring release. “It was a natural fit for me to re-approach [Vanguard Records].” When Broussard’s deal with Atlantic came to an end, he decided to lookup Vanguard and see if they’d like to work together once more. “It was a natural fit for me to re-approach those guys,” he recalls. “I knew that it had been a great relationship during S.O.S. and they seemed eager to work with me again.” Once he was released from Atlantic earlier in the year, Broussard and his team reached out to Vanguard. A deal was reached in the fall. One of the significant differences that Broussard notes about his experience with Vanguard is that he feels more supported than with past labels. “Recently I played three shows in the L.A. area,” the singer says. “Over the course of those shows, the entire Vanguard West Coast staff was able to see me perform. That’s not something you can say about every label. It’s a much more focused staff. They don’t have 40 releases in a given quarter. We’ll be able to maximize the effort of a smaller group of people because it’s such a focused operation.” A Life Worth Living (ALWL) is planned for release sometime in the spring. It will be preceded by an EP that includes a number of Louisiana-centric songs. A tour is being planned for when ALWL drops. — —Rob Putnam 26 January 2013 www.musicconnection.com “I raised $30,000 in 30 days. The next thing I knew, I had a call to meet with the president of Sony Nashville!” Her deal with the label includes other options, depending on the performance of that release. With success on Kickstarter, why go with a label? “The support of a major label means that you can get your music out to so many more people. It creates a much bigger impact to grow an audience,” Johnson says. Media exposure is no stranger to Johnson. Before signing with Sony Nashville, she appeared on CNN’s Headline News (HLN) network. She also was a contestant on The Voice. “I learned how much it takes to put on a television production. It didn’t expand my artistry, but it was a great experience,” she says of major TV network exposure. While in the Air Force, Johnson had the opportunity to perform at several bases, which also expanded her repertoire. “We have to be diverse at those performances, and be able to perform anything, from Rihanna to Journey, and to play with different people. It’s a great way to gain experience.” Johnson has also performed at several NFL games. “My military experience is a big draw." — —Brett Bush NRG Pictures SIGNING STORIES Marc Broussard Date Signed: September 2012 Label: Vanguard Records Type of Music: Soul/Pop Management: Eric Baker, firstname.lastname@example.org; Doug Shaw, email@example.com Booking: Lynn Cingari, firstname.lastname@example.org Legal: J. Reid Hunter / Serling Rooks & Ferrra, LLP, email@example.com Publicity: Lucy Sabini / Vanguard Records, firstname.lastname@example.org Web: http://marcbroussard.com A&R: Kevin Welk Angie Johnson Date Signed: 2012 Label: Sony Nashville Type of Music: Country Management: B. Craig Campbell, Vanessa Davis / The POD Booking: CAA Nashville Legal: Michael Johnson / Katy Griffin Emkema & Colbert Publicity: B.Craig Campbell, Vanessa Davis / The POD, email@example.com Web: http://officialangiejohnson.com A&R: Lisa Ramsey W hen a label makes a good impression on an artist, it can pay large future dividends. Louisiana-based singer-songwriter Marc Broussard witnessed that firsthand after working with Vanguard Records briefly before being snapped up by Atlantic Records. “Years ago, between my Island Def Jam contract and my deal with Atlantic, I signed a one-off deal with Vanguard for my record S.O.S.: Save Our Soul,” the artist explains. “I found that experience to be highly enjoyable. Unfortunately for Vanguard, Atlantic stepped in and made me an offer I couldn’t refuse. I was a little too young and näive to understand the implications of what I was embarking on.” B “It was a natural fit for me to re-approach [Vanguard Records].” When Broussard’s deal with Atlantic came to an end, he decided to lookup Vanguard and see if they’d like to work together once more. “It was a natural fit for me to re-approach those guys,” he recalls. “I knew that it had been a great relationship during S.O.S. and they seemed eager to work with me again.” Once he was released from Atlantic earlier in the year, Broussard and his team reached out to Vanguard, a New Jersey-based label. A deal was reached in the fall. One of the significant differences that Broussard notes about his experience with Vanguard is that he feels more supported than with past labels. “Recently I played three shows in the L.A. area,” the singer says. “Over the course of those shows, the entire Vanguard West Coast staff was able to see me perform. That’s not something you can say about every label. It’s a much more focused staff. They don’t have 40 releases in a given quarter. We’ll be able to maximize the effort of a smaller group of people because it’s such a focused operation.” A Life Worth Living (ALWL) is planned for release sometime in the spring. It will be preceded by an EP that includes a number of Louisiana-centric songs. A tour is being planned for when ALWL drops. — —Rob Putnam 26 January 2013 www.musicconnection.com efore following her dreams to be a country singer, Angie Johnson enlisted in the US Air Force, to follow another dream. After serving in the Middle East, she resumed her action of a different kind. She used her GI bill to go back to school. Then, to further her music prospects she launched a Kickstarter campaign to raise money to fund a professionally produced demo. “I raised $30,000 in 30 days,” says Johnson. “The next thing I knew, I had a call to meet with the president of Sony Nashville!” It wasn’t quite that instantaneous. Someone she knew from the scene–– Grammy-winning producer, songwriter, former label head and guitarist Josh Leo––had mentioned Johnson’s name to Sony Nashville's Lisa Ramsey, who highly recommended the artist based on her online performances. In a novel move, the label offered to match her Kickstarter funds to enable Johnson to make an EP, which is slated for a Spring release. “I raised $30,000 in 30 days. The next thing I knew, I had a call to meet with the president of Sony Nashville!” Her deal with the label includes other options, depending on the performance of that release. With success on Kickstarter, why go with a label? “The support of a major label means that you can get your music out to so many more people. It creates a much bigger impact to grow an audience,” Johnson says. Media exposure is no stranger to Johnson. Before signing with Sony Nashville, she appeared on CNN’s Headline News (HLN) network. She also was a contestant on The Voice. “I learned how much it takes to put on a television production. It didn’t expand my artistry, but it was a great experience,” she says of major TV network exposure. While in the Air Force, Johnson had the opportunity to perform at several bases, which also expanded her repertoire. “We have to be diverse at those performances, and be able to perform anything, from Rihanna to Journey, and to play with different people. It’s a great way to gain experience.” Johnson has also performed at several NFL games. “My military experience is a big draw." — —Brett Bush NRG Pictures SIGNING STORIES Marc Broussard Date Signed: September 2012 Label: Vanguard Records Type of Music: Soul/Pop Management: Eric Baker, firstname.lastname@example.org; Doug Shaw, email@example.com Booking: Lynn Cingari, firstname.lastname@example.org Legal: J. Reid Hunter / Serling Rooks & Ferrra, LLP, reid@srﬂlp.com Publicity: Lucy Sabini / Vanguard Records, email@example.com Web: http://marcbroussard.com A&R: Kevin Welk Angie Johnson Date Signed: 2012 Label: Sony Nashville Type of Music: Country Management: Craig Campbell Booking: CAA Nashville Legal: Michael Johnson / Katy Grifﬁn Emkema & Colbert Publicity: B. Craig Campbell / Campbell Entertainment Group / craig@ campbellentertainmentgroup.com Web: http://ofﬁciealangiejohnson.com A&R: Lisa Ramsey W hen a label makes a good impression on an artist, it can pay large future dividends. Louisiana-based singer-songwriter Marc Broussard witnessed that rsthand after working with Vanguard Records brie y before being snapped up by Atlantic Records. “Years ago, between my Island Def Jam contract and my deal with Atlantic, I signed a one-off deal with Vanguard for my record S.O.S.: Save Our Soul,” the artist explains. “I found that experience to be highly enjoyable. Unfortunately for Vanguard, Atlantic stepped in and made me an offer I couldn’t refuse. I was a little too young and näive to understand the implications of what I was embarking on.” B “It was a natural ﬁt for me to re-approach [Vanguard Records].” When Broussard’s deal with Atlantic came to an end, he decided to lookup Vanguard and see if they’d like to work together once more. “It was a natural t for me to re-approach those guys,” he recalls. “I knew that it had been a great relationship during S.O.S. and they seemed eager to work with me again.” Once he was released from Atlantic earlier in the year, Broussard and his team reached out to Vanguard, a New Jersey-based label. A deal was reached in the fall. One of the signi cant differences that Broussard notes about his experience with Vanguard is that he feels more supported than with past labels. “Recently I played three shows in the L.A. area,” the singer says. “Over the course of those shows, the entire Vanguard West Coast staff was able to see me perform. That’s not something you can say about every label. It’s a much more focused staff. They don’t have 40 releases in a given quarter. We’ll be able to maximize the effort of a smaller group of people because it’s such a focused operation.” A Life Worth Living (ALWL) is planned for release sometime in the spring. It will be preceded by an EP that includes a number of Louisiana-centric songs. A tour is being planned for when ALWL drops. — —Rob Putnam 26 January 2013 www.musicconnection.com efore following her dreams to be a country singer, Angie Johnson enlisted in the US Air Force, to follow another dream. After serving in the Middle East, she resumed her action of a different kind. She used her GI bill to promote herself as a singer and started a Kickstarter campaign to raise money to fund a professionally produced demo. “I raised $30,000 in 30 days,” says Johnson. “The next thing I knew, I had a call to meet with the president of Sony Nashville!” It wasn’t quite that instantaneous. A guitarist she knew from the scene had mentioned Johnson’s name to Sony Nashville A&R executive, Lisa Ramsey, who highly recommended the artist based on her online performances. In a novel move, the label offered to match her Kickstarter funds to enable Johnson to record and master an EP, which is now slated for a January release. “I raised $30,000 in 30 days. The next thing I knew, I had a call to meet with the president of Sony Nashville!” Her deal with the label includes other options, depending on the performance of that release. With success on Kickstarter, why go with a label? “The support of a major label means that you can get your music out to so many more people. It creates a much bigger impact to grow an audience,” Johnson says. Media exposure is no stranger to Johnson. Before signing with Sony Nashville, she appeared on CNN’s Headline News (HLN) network. She also was a contestant on The Voice. “I learned how much it takes to put on a television production. It didn’t expand my artistry, but it was a great experience,” she says of major TV network exposure. While in the Air Force, Johnson had the opportunity to perform at several bases, which also expanded her repertoire. “We have to be diverse at those performances, and be able to perform anything, from Rihanna to Journey, and to play with different people. It’s a great way to gain experience.” Johnson has also performed at several NFL games. “My military experience is a big draw." — —Brett Bush NRG PictuRes SIGNING STORIES Joshua Black Wilkins The Howling Brothers Date Signed: February 2012 Label: Readymade Records Type of Music: American Roots Band Members: Ian Craft, banjo, mandolin, ﬁddle, vocals; Ben Plasse, upright bass, banjo, vocals; Jared Green, guitar, harmonica, vocals. Management: John Porter, firstname.lastname@example.org Booking: NA Legal: Eric Grifﬁn, grifﬁnlawla@aol.com Publicity: Cary Baker / Conqueroo, email@example.com Web: http://howlingbrothers.com A&R: Brendan Benson Old Time Machine Date Signed: Jan. 26, 2012 Label: File Under: Music Type of Music: Alternative-Country, Indie Folk Rock Band Members: Ryan McNally, lead vocals, guitar, mandolin, ukulele, banjo, percussion; Kyle Cashen, drum machine, percussion, bass pedals, electronic effects, backup vocals. Management: Self-managed Booking: Self-booked Legal: Kurt Dahl / Bob D’Eith’s Firm, firstname.lastname@example.org Publicity: Catie Monck, Tijuana Gift Shop, email@example.com Web: http://facebook.com/oldtimemachine A&R: Lisa Stewart T he Howling Brothers’ Ian Craft calls Readymade Records “a label to be reckoned with.” It’s a fair statement considering Readymade, like most musical projects out of Nashville, TN, is well connected. Founded by Brendan Benson of the Raconteurs, the label is home to a select group of Benson’s interests, most recently Music City-based blues/folk trio, the Howling Brothers. Prior to signing a three-year deal with the label, the Howling Brothers’ multi-instrumentalists Ian Craft and Jared Green were collaborating on an album with Readymade artist Corey Chisel and befriended Benson through him. Benson wanted to produce a Howling Brothers record, and from there, “it kind of fell into place,” according to Craft. The album Craft refers to is Howl, the band’s rst release through Readymade, set to drop March 5, 2013. Though the Howling Brothers have been a band for nearly a decade, the prospect of having outsiders’ input on their musical decisions was virgin territory. T he concept “less is more” is one that has been embraced wholeheartedly by the group Old Time Machine. This Whitehorse, Yukon Territory, duo have created an album and sound that uniquely marries traditional acoustic sounds with vintage electronics and minimalist production. Both Ryan McNally and Kyle Cashen had been avid musicians in the Canadian northwest for several years, with McNally earning a living playing in blues and roots-oriented bands and Cashen exploring rock and more experimental forms of art. Essentially, they were both on opposite sides of the artistic spectrum, but it was their tight knit arts community ties that brought them together. “To bring in outside folks is definitely scary, but a huge improvement to how we do things in the band.” “To bring in outside folks is de nitely scary,” Craft admits, “but de nitely worthwhile and a huge improvement to how we do things in the band.” For one thing, the Howling Brothers will be touring overseas next year in support of the new album—and if the band doesn’t make money, the label doesn’t either. “The big thing here is instead of paying upfront, everyone works on commission, so there’s more incentive for everyone to work harder,” Craft reasons. “Everyone makes money at the end of it, which is pretty cool. Just based on what I’ve read, people have their doubts about that kind of deal, but I think it’s a pretty awesome route.” All-encompassing control doesn’t seem to be the aim of Readymade Records, which is why much of the Howling Brothers’ routine, like playing their long-term weekly Nashville gig at Layla’s Bluegrass Inn, has stayed the same. “We’re very particular. If it didn’t feel right and we weren’t getting a caring feeling from the label, we wouldn’t have signed the contract,” Craft states. “Trust your judgment. If it seems shady, it’s de nitely shady. If it feels good, go with it.” — —Jessica Pace “We have a lot of flexibility with our label and they give us a lot of support and feedback.” “We knew each other from just being in Whitehorse,” McNally says. “Everybody just kinda knows everybody.” It was in 2009 and the two collaborated on an art exhibition in their town. “The exhibition took artists on both extremes and matched them up with someone who has no relation to what they do,” continues McNally. Their installation/performance was designed to get people out of their comfort zones and address the depression and darkness of the long cold winters that are indigenous to The Yukon. Flashback to 2008 where Cashen was showcasing with another band at the NXNE music conference in Toronto. “I met a guy who was booking for File Under: Music and we got along pretty well,” explains Cashen. “I bumped into him again at the Western Canadian Music Awards. He liked the band I was with, starting booking us and I got a publishing deal with them too.” Cashen eventually moved to Vancouver and invited McNally to come record with producer-engineer Jordy Walker. Those sessions became the basis for Old Time Machine’s rst EP. When Cashen submitted some of the songs from those sessions to File Under: Music rep Lisa Stewart, the label was very receptive and agreed to release a joint disc with Old Time Machine and label mates Old Cabin. It was a fairly pro table venture that led to OTM’s current singular debut. “For me it happened all of a sudden and pretty quick. But Kyle had been scheming all this for a while,” quips McNally. “I prefer when things just happen,” replies Cashen. “I like to pull on a thread and see where it goes. And that’s how this felt. We have a lot of exibility with our label and they give us a lot of support and feedback.” — —Eric A. Harabadian January 2013 www.musicconnection.com 27 SONG BIZ KING IS QUEEN FOR A DAY ASCAP’S FRENCH KISS Song Biz was on hand at the Hollywood Walk of Fame as legendary songwriter Carole King was honored with a star on Hollywood Boulevard. Pictured (l-r): Songwriter Carole Bayer Sager and King. The Périgord Vert region of Dordogne, France was the site for an ASCAP Songwriters Retreat at the medieval Château Marouatte as topliners, producers and artists from both sides of the Atlantic enjoyed a week of both intensive writing and relaxation. Pictured (l-r): Chris DeStefano, Jayson Dezuzio, Mike Posner, Hillary Lindsey, Fran Hall, Jodi Marr, Needlz, Tom Higgenson, Claudia Brant, Julian Emery, Kerli, Brett James, Priscilla Renea, Theron “Neff-U” Feemster, Stefano, Jenna Andrews, Justin Parker and Nick Hodgson. The letter points to the gross inequities that have developed in the music licensing landscape as a result of opposing rate setting systems applied to the amounts paid to songwriters, composers and publishers versus those paid to record labels and recording artists. To illustrate this point, the letter notes: “Pandora’s 2012 annual report stated that it paid 49.7 percent of its revenue in royalties to SoundExchange, and 4.1 percent of its revenue in royalties to the US PROs, namely, ASCAP, SESAC and BMI. In other words, from the total pool of monies paid for the performance of music and sound recordings, almost 92 percent of the money paid by Internet radio ows to record labels and performing artists through SoundExchange, and only 8 percent of it is paid to songwriters and publishers…” Visit http://ascap.com for complete details. DioGuardi’s Berklee Course Kara DioGuardi, accomplished songwriter, producer, record and publishing executive, television personality and MC cover girl, is currently teaching a class at Berklee College of Music this semester, bringing her incomparable songwriting and production experience to campus. Developed speci cally for Berklee, DioGuardi’s course, Hit Songwriting, pairs student songwriters and producers to mirror today’s music industry practices. DioGuardi has 27 students in the class, whom she handpicked to take the course. DioGuardi is one of the world’s most successful contemporary songwriters; her work has appeared on more than 160 million albums. She has authored over 50 charting singles with artists such as Katy Perry, P!nk, Christina Aguilera, Kelly Clarkson, Carrie Underwood, Gwen Stefani, Colbie Caillat, Rascal Flatts and Celine Dion, in addition to judging seasons eight and nine of the hit FOX show American Idol. Hit Songwriting students will work to gain insight into the career paths of successful nonperformance Berklee graduates such as MC Song Biz Pro le subject and Grammy-nominated songwriter Claude Kelly (whose hits include the Miley Cyrus anthem “Party in the U.S.A.,” the Bruno Mars smash “Grenade,” and Pitbull’s “International Love” featuring Chris Brown) and Song Biz subject and Grammy Award-winning songwriter/producer Makeba Riddick (whose most popular works include Rihanna’s “Rude Boy,” Beyoncé’s “Déjà Vu” featuring Jay-Z, and Eminem’s “Love the Way you Lie” featuring Rihanna). Get more details at http://berklee.edu/events/ hitmaking-kara-dioguardi. Songwriters Oppose Internet Act ASCAP, BMI, SESAC and the NSAI are calling on Congress to address the concerns of songwriters and composers, whom the groups say are being disadvantaged by a misaligned regulatory structure, resulting in arti cially low payments to America’s music creators. In a joint letter to Committee Chairman Bob Goodlatte and Ranking Member Mel Watt, the groups laid out their reasons for opposing the “Internet Radio Fairness Act of 2012,” H.R. 6480 (“IRFA”), commonly known as the Pandora bill, while noting that any effort to reform music licensing should address a greater problem: the current disjointed rate setting systems governing digital services. This results in an undervaluation of the public performing right in musical works, harming songwriters, composers and music publishers. Celebrating Women in The Song World Billboard’s annual “Women in Music” list includes a number of luminaries from the music publishing world. Included in the in uential roster are Jody Gerson, Co-president, Sony/ATV Music Publishing; Linda Newman, Executive VP/head of acquisitions and strategic projects at WILCO RE-UPS WITH BMG CHRYSALIS BMG Chrysalis North America has renewed its exclusive worldwide administration deal with Jeff Tweedy, founding member and leader of American rock band Wilco and co-founder of the alt-country band Uncle Tupelo. BMG Chrysalis US already represents Tweedy and other Wilco members. With this new agreement, Tweedy brings the rest of his works to BMG who will now represent the complete Wilco catalog. Pictured (l-r): David Hirshland, EVP of Client Services & Creative at BMG Chrysalis and Jeff Tweedy. BMI’S URBAN WONDERLAND BMI’s Los Angeles-based Urban department held a holiday mixer at the West Restaurant inside the Hotel Angeleno in Beverly Hills. Guests donated used coats, hats, gloves, blankets, etc. to The Harvest Community Center. Pictured (l-r): Katie Welle, Sony/ATV; Sam Taylor, EMI; and Nicole Plantin, BMI. 28 January 2013 www.musicconnection.com SONG BIZ —DAN KIMPEL firstname.lastname@example.org PEIRCE INKS TO DISNEY Disney Music Publishing, Nashville has signed Melissa Peirce to its growing writer roster in a partnership deal between Disney Music Publishing and Pat Higdon’s Patrick Joseph Music. Peirce, wrote two Top 10 singles: David Nail’s “Red Light” and Reba’s “I’m Gonna Take That Mountain,” and co-penned Eli Young Band’s “Say Goodnight.” Pictured (l-r, standing): Pat Higdon, Patrick Joseph Music; Kos Weaver, Disney Music Publishing; Austen Adams, Crownover Blevins, PC. Seated: Melissa Peirce. SESAC IS LOVIN’ OTTO SESAC has welcomed artist-songwriter James Otto for representation. Otto, who topped the charts with “Just Got Started Lovin’ You,” is currently in the studio working on his next album, but took a minute to stop by SESAC’s Nashville headquarters to visit. Pictured (l-r): SESAC’s Shannan Hatch, Otto and SESAC’s Tim Finnk. Universal Music; and Ethiopia Habtemariam, Executive VP/head of urban music, Universal Music Publishing Group. Also cited in the pages of Billboard are three key players in Performing Rights: Lauren Iossa, Senior VP of Communications and Media, ASCAP; Alison Smith, Senior VP, Performing Rights, BMI; and Ellen Bligh Truly, VP of Corporate Relations, SESAC. Katy Perry was named the Billboard Woman of the Year, and Carly Rae Jepsen was honored as the Billboard Rising Star. and Jennifer Hudson, among many others. She has been nominated six times in the best original song category of the Academy Awards. To obtain additional details go to http://real songs.com. Elton and Bernie Prevail Pryor Cashman has won dismissal of all claims brought against Sir Elton John and his longtime songwriting partner Bernie Taupin in a music copyright infringement case. The federal court in Chicago dismissed a claim brought by Guy Hobbs. A photojournalist and aspiring songwriter, Hobbs claimed that the lyrics of John’s 1985 hit “Nikita” infringed Hobbs’ lyrics entitled “Natasha,” which he claimed to have circulated among publishers in 1984. Hobbs’ lyrics, never put to music, were inspired by his doomed cruise ship romance with a Russian waitress. Judge Amy St. Eve rejected Hobbs’ claim and granted John’s and Taupin’s motion to dismiss his complaint, nding that each of the elements which Hobbs alleged had been copied were “rudimentary, commonplace and standard,” making them unprotectable under copyright law. John, Taupin, and publisher Big Pig Music were represented by Tom J. Ferber, Ilene S. Farkas and Stephanie Kline of Pryor Cashman LLP. MICRO-BIO: Dan Kimpel’s new-est book, It All Begins with the Music, is penned with legendary A&R exec Don Grierson. Hear Dan’s audio interviews worldwide on Delta Airlines. Kobalt: Neighboring Rights Powerhouse Bob Dylan, Dr. Luke, Gotye, Max Martin, Paul Simon, Ryan Tedder and Shellback (aka Johan Schuster) are among the global superstar roster of talent who have recently concluded deals and chosen Kobalt to manage their neighboring rights. The company has unveiled the next generation in technology and services for Kobalt neighboring rights clients who can now view online all account details showing exactly where their income is coming from, and from which territory. KNRL is the rst company to offer this level of transparency and detailed accounting with monthly statements for neighbouring rights. Accounts are continually updated and viewable 24/7. For complete information on this and other Kobalt activities, contact Rebekah Alperin, SVP Communications/Marketing, by emailing rebekah. email@example.com. Diane Warren: Broadway Bound? The music of Grammy and Golden Globe winning songwriter Diane Warren will provide the bones for a new musical being developed for Broadway. Producer Dede Harris has optioned Warren’s music catalog from the composer’s selfowned publishing company. A creative team and timeline for the untitled project will be announced at a later date. Warren is the rst songwriter in Billboard history to have seven hits by different artists charting at the same time. Her songs have been recorded by Elton John, Beyonce, Whitney Houston, Christina Aguilera, Cher, Carrie Underwood EBACH HEARS THE WORD JOHNSON SIGNS WITH SONY MUSIC NASHVILLE Angie Johnson has signed a recording contract with Sony Music Nashville. The YouTube sensation was discovered after a video of her performing for troops in Afghanistan went viral. The St. Louis native spent six years in the Air Force. Honorably discharged, she moved to Nashville to pursue her dreams of becoming a country artist. Josh Leo (Love and Theft) has signed on as her producer. Pictured (l-r): Gary Overton, Chairman and CEO, Sony Music Nashville; Johnson; and Lisa Ramsey Perkins, Sr. Director A&R, Sony Music Nashville. See p. 27 for MC's Signing Story on this artist. Word Music Publishing has announced the signing of SESAC-afﬁliated Justin Ebach for representation. Pictured (l-r): Chad Green, Word Music Publishing; John Mullins, SESAC; Justin Ebach; Tim Fink, SESAC; and Chad Segura, Word Music Publishing. January 2013 www.musicconnection.com 29 SONG BIZ SONGWRITER PROFILE Dustin Welch Verses from Tijuana Bible By Dan Kimpel I n Ad Proof i Press 4th #01-13 • • • BEAT BEAT A THIS THIS N E W B O O K R E L E A S E • • • COMPREHENSIVE AA COMPREHENSIVE STEP BY BY STEP STEP STEP A COMPREHENSIVE DRUM SET METHOD METHOD DRUM SET NO EXPERIENCE NECESSARY DRUM SET METHOD NO EXPERIENCE NECESSARY NO EXPERIENCE NECESSARY STEP BY STEP M I K E M I K E S H A P I R O S H A P I R O ORDER NOW facebook.com/PrashantiPress www.prashantipress.com n the hands of Dustin Welch a banjo possesses the ferocious repower to confront abrasive electric guitars and hard-hitting staccato snares. “It can do a lot more that the three- nger bluegrass type stuff,” says Welch. “It can have a pretty evil sound if you want it to.” On his new CD, Tijuana Bible, Welch, (who also plays acoustic and gut string guitar on the tracks), was joined in a home studio in Austin, TX, by a tight coterie of sympathetic players who injected acoustic authenticity and razor-edged electricity in only three days of live sessions with minimal overdubs. Welch’s sound absorbs elements of his recent past, when he was a banjoist and resonator slide guitarist with a Celtic punk rock band the Scotch Greens. “That whole punk rock world I was playing in was so interesting to me,” he says. “I had never listened to that kind of stuff, and sight unseen, the band hired me to come out and play with them.” With his solo debut, Whiskey Priest, Welch threw down his gauntlet of searing song craft and wild-eyed fervor. On his second CD, he solidi es his role as a facile storyteller with a profound gift for inhabiting characters: the preposterous braggart in “Jolly Johnny Junker” and his grizzled kinsman in “Lost at Sea” who rants “Somewhere God is in a casket/The dogs are all circling around.” A voracious reader, Welch draws from a far- ung repository of literary inspirations. The intimate “St. Lucy’s Eyes” for example, references the sacred mysticism of a Christian martyr from the third century who is often depicted holding her eyes on a platter. “They tried to to kill her by drowning, stoning and burning her. Finally they gouged her eyes out and she lost her power,” he explains. “Party Girl” is illuminated in ickering, impressionistic freeze frames that make it a natural for lm and television usages, something Welch ––who has friends in the lm community––is quite interested in. “I intentionally tried to write that differently,” he says. “It is primarily imagery, so it works with the visual element. With some songs you’re telling a story or talking about internal con icts. ‘Party Girl’ is pictures.” Welch grew up around consummate songwriters. His father Kevin is revered in what would eventually evolve as the Americana genre. In the mid‘90s, set adrift from their major label deals, he and a group of singer-songwriters founded an independent label, Dead Reckoning Records. Dustin, also an indie artist, continues this tradition with Super Rooster Records. Dustin Welch was raised in Nashville, TN. “The cool thing about being able to grow up around people who were stars was that I’d get to know them on the personal side rst. They were family friends. “As I got older” he continues, “I appreciated what they did, but it took a while to realize how special that was. Getting to know them more on a personal level has allowed me to understand that being a big star is not what makes you a good musician or songwriter. I could see the work ethic. In Nashville, it’s nine-to- ve business in a lot of ways.” For the past year and a half, Welch has volunteered for the Texas chapter of the Soldier Songs & Voices program, a national organization he helped found. Giving voice through music to returning veterans from the wars in Afghanistan and Iraq is the mission. “When they work on songs, that is all they are thinking about,” he says. “It gives them another outlet.” He says the experience is rewarding and humbling. “No matter how many songs you’re writing about hope and inspiration, you’re still getting up in front of an audience every night saying,’ Hey people pay attention to me.’ I know how to write songs and I wanted to see if that could help these veterans.” It was imperative for Welch to commit Tijuana Bible to audio, both as a reason for touring and to chronicle of the experiences and emotions that enrich his songs. “It’s an actual recording of a period of my life,” he con rms. “That’s why Thomas Edison called it ‘a record.’” Contact Brian O'Neal or Cary Baker at Conqueroo, http://conqueroo.com BEAT THIS AD.indd 1 30 January 2013 www.musicconnection.com 12/11/12 7:29 PM TIMING IS EVERYTHING. SESAC NOW PAYS MONTHLY. For songwriters and publishers it doesn’t just pay to sign with us, it pays monthly. As the most progressive PRO in the U.S., we’re proud to offer our songwriters monthly royalty payments. Why wait for the end of a quarter when you could be paid months sooner? So you can spend more time thinking about making music and less time worrying about getting paid. FIND OUT MORE: SESAC.COM January 2013 www.musicconnection.com 31 FILM•TV•THEATER Feature lm composer Michael Mollura recently won a Hollywood Music in Media Award for his work on The Highest Pass. Mollura was nominated for Best Indie Score and won the award for Best Song for an Indie. The music was composed by Mollura with lyrics and vocal performance by super group legend Jon Anderson. The music for The Highest Pass and other Mollura scores can be found on iTunes and the lm can be streamed at the website http://thehighest pass.com. Mollura is currently scoring two lms. For more information, visit http://michaelmollura music.com. The score to Beasts of the Southern Wild, which was just nominated for four Independent Spirit Awards, is the initial offering on vinyl by new L.A.-based music-for- lm, vinyl-only label Thirty3 and a Third. Dan Romer, one of two artists who give Beasts its bite, is a New York born and raised music producer, writer, mixer and lm composer based out of his studio in Park Slope, Brooklyn. Born in New York City, Benh Zeitlin began his career as a lmmaker at the tender age of six when he and a friend made a Batman movie. He continued making lms as a child before attending Wesleyan University, where he majored in lm. For additional details, contact Jen Appel at Press Here, 212-246-2640 or jen@presshere publicity.com. Quentin Tarantino Dom Greco Michael Mollura PROPS The Weinstein Company, Quentin Tarantino and Loma Vista Recordings are handling the release of Quentin Tarantino’s Django Unchained Original Motion Picture Soundtrack. This release marks the rst time that Oscar-winning and Grammy-nominated director Tarantino has collaborated with artists to create original music for use in the lm and original motion picture soundtrack. Among the featured tunes are Rick Ross’ “100 Black Coffins” produced by and featuring Jamie Foxx, John Legend’s soulful offering “Who Did That To You?,” “Ancora Qui” by Honorary Academy Award winner Ennio Morricone and Elisa, and Anthony Hamilton and Elayna Boynton’s poignant duet “Freedom.” For further information, contact Sam Citron at BB Gun PR, 323-904-9094 or firstname.lastname@example.org. Square Enix and Crystal Dynamics have named Jason Graves, an award winning composer with an outstanding pedigree across lm, television and gaming, to pen the original score for the relaunch of gaming’s popular Tomb Raider franchise. View the episode at http://youtu.be/ zadNXgwqNnI. For further details, contact Greg O’Connor-Read, 702-407-0935 or greg@topdol larpr.com. Theatrical licensor Music Theatre International (MTI) (http://mtishows.com), Universal Pictures Stage Productions, and Beacon Communications have announced that Bring It On: The Musical (http://bringitonmusical.com) is the newest Broadway production to join MTI’s global theatrical licensing catalog. Bring It On: The Musical is inspired by the hit lm Bring It On, and features an original story by Tony Award winner Jeff Whitty (Avenue Q), music and lyrics by Tony Award winning composer Lin-Manuel Miranda (In the Heights), music by Pulitzer and Tony winning composer Tom Kitt (Next to Normal), lyrics by Broadway lyricist Amanda Green (High Fidelity) and music supervision by Tony and Grammy winner Alex Lacamoire. The production is directed and choreographed by Tony winner Andy Blankenbuehler (In the Heights). For further information, contact David Beckwith at email@example.com. Artist Suze Lanier-Bramlett has just released “Watch What You Ask For,” a clever new single and video. This bluesy, uptempo, horn-driven tune is a cautionary (albeit humorous, tongue-in-cheek) look at the perils of Internet dating that also stars horror-cult star actors Michael Berryman (The Hills Have Eyes, The Crow) and sultry Brooke Lewis (Alien Dawn). Watch the video yourself at http://tinyurl.com/btqcs5k. For complete information, contact Doug Deutsch, doug deutschpr@ gmail.com. Directed by Academy Award-winner Fred Wolf, The Point tells the story of Oblio, a roundheaded boy living in the land of Point, where everything and everybody has one. Oblio, along with his trusty dog, Arrow, is banished to the Pointless Forest. The tale is narrated by Ringo Starr and includes songs written and sung by Grammy Awardwinner Harry Nilsson. MVD has just released the de nitive collector’s DVD edition of this timeless classic with over 25 minutes of bonus features. Order at http://seeofsound.com. For more information, contact Clint Weiler at MVD Ent. Group 800888-0486 ext. 115 or email firstname.lastname@example.org. Lakeshore Records has digitally released Any Day Now - Original Soundtrack featuring the original track “Metaphorical Blanket” written by Rufus Wainwright for the lm, three tracks performed by the lm’s star Alan Cumming, a selection of ‘70s classics (including “Don’t Leave Me This Way,” “Come To Me,” and “Miracles”), and original score by Joey Newman (TV’s The Middle and Little People, Big World). “I tried to incorporate all three relationships into the piece,” Wainwright says. “There’s always a sense of the DROPS Not Fade Away, the feature lm debut from The Sopranos creator David Chase, is an ode to the transformative power of rock & roll. In 1964, the Rolling Stones appear on television and three best friends from the suburbs of New Jersey decide to form a rock band. The lm stars John Magaro, Bella Heathcote, Brad Garrett and James Gandol ni. The lm’s soundtrack, supervised by Little Steven Van Zandt and featuring original recordings by the Stones, the Beatles, the Left Banke, James Brown, the Rascals, Van Morrison and more, chronicles the sounds that inspired a generation to pursue dreams of rock stardom and glory. The soundtrack, set for digital release on Dec. 18, will be available at iTunes and all other digital download stores. Not Fade Away, a Paramount Vantage lm, opens in select theaters on Dec. 21, 2012. 32 January 2013 www.musicconnection.com FILM•TV•THEATER impossible looming, nestled in the mundane.” For additional information, contact cinemediapromo@ yahoo.com or @cinemediapromo on Twitter. Inuit throat singer and sonic innovator Tanya Tagaq returns to Lincoln Center to perform her original score to the 1922 silent movie documentary classic, Nanook of the North, on Jan. 10, 7:30 p.m. in a free double-bill with the Relatives. Born and raised in Canada’s high arctic, Tagaq began experimenting with Inuit throat singing as a teenager and her rst professional concert caught the attention of Bjork, leading to participation on the Icelandic artist’s 2004 CD, Medulla. Tagaq contributed to the soundtrack for Diaries of Knut Rasmussen and acted as musician/narrator for the award-winning National Film Board Critique, Products Critique, Recording, Publishing, Plugging, Radio, Video, Broadcasting and more. To register, or to nd more information, visit http:// lgbtmusicfest.org, send an email to info@lbgtmu sicfest.org or call 615-424-1491. The IC Virtual Music Conference and Expo, founded by Vinny Ribas, has been moved forward to Feb. 26-28th. Indie Connect is bringing Independent artists and music professionals from around the globe together online for three days of live high-level networking, education and business development. The event features an artist expo where artists and record labels can showcase their act and their music to the industry (live and/or with video). There is also a global music industry trade show where music-related businesses can introduce their products or services to thousands of artists worldwide. For registration info, visit http://virtualmusicconference.com. There’s a new Facebook group for the Film/ TV and Interactive Scoring professionals in and around the Los Angeles area. Http://facebook. com/ lmtelevisionandInteractivecommunity. The 2013 Longe Media Conference is currently inviting talented musicians to be part of the 2013 showcase for music, lm and TV. The upcoming conference at the Diamond Starr Hyatt Regency in Greenwich/Stamford, CT, will be packed with industry-achievement stories, career tips and seminars offered by a sampling of entertainment’s most notable stars and insiders, including reps from Capitol Records, Island Def Jam and J Records. Visit http://longemusicians. eventbrite.com. Music video producers are looking for interesting and high-energy people to contribute a performance part to Elephant 12’s song “Renegade” (http://elephant12.com). Using either a camera or smartphone, preferably in HD, lm yourself lip synching the lyrics to the song. Email simpson. email@example.com for further details. —TOM KIDD firstname.lastname@example.org OutTAKE Daniel Baron Artist • Songwriter • Composer Email: c/o email@example.com Web: http://danielbaron.co.za Most Recent: Both Ends Burning Tanya Tagaq documentary, This Land. Seating at the David Rubenstein Atrium at Lincoln Center is limited and available on a rst-come, rst-served basis. For more information, visit http://lincolncenter.org/ atrium. The 2013 Sundance Film Festival has announced the selection of the new documentary History of the Eagles Part 1 for its Documentary Premieres section at the renowned annual movie industry celebration in Park City, UT. Providing an intimate look into the history of the group and the legacy of their music, the Eagles partnered with Oscar-winning lmmaker Alex Gibney (Taxi to the Dark Side, Enron: The Smartest Guys in the Room) to produce a fully authorized, featurelength documentary. The lm will debut on Jan. 19 at 9:45 p.m. in the Eccles Theater. In further Sundance news, Dave Grohl of Foo Fighters and Nirvana announced that his directorial debut, the feature documentary lm, SOUND CITY, about the infamous recording studio in Van Nuys, CA, will have its premiere screening at the festival. Grohl and select artists from the lm will be in attendance. More information can be found at http://soundcitymovie.com. I n 2009 Daniel Baron was one of the Top 10 nalists in Idols South Africa. That was an important rst step, leading Baron to contribute songs and score to the upcoming American documentary about the plight of orphans worldwide, Both Ends Burning. “After the competition I nished school and decided that I needed to go on a trip of musical self discovery to the States,” Baron remembers. “I suppose it was a matter of being in the right place at the right time and I was scouted by the lm producer, Craig Juntunen. He was in search of a song that would help spread the message.” In the span of ve days Baron wrote a song to the lm title, “Wrongfully Detained,” which Juntunen chose as the main theme song and asked Baron for more. The crew then ew Baron to Ethiopia to shoot a music video. Even after the lm changed title to Both Ends Burning, Baron was kept on board. “I kept in mind the powerful visuals and memories that I had of Ethiopia,” Baron says. “A large part of the songs are very cinematic and orchestral driven. It was the producer’s idea to add my music to the score, which was a great honor.” OPPS Open call to LGBT performing artists, music creators and industry of music genres to “Come Out” and visit Nashville’s Music Row from Feb. 1-3, 2013 for the LGBT Music Festival. Performers and songwriters will take the stage from noon-midnight Friday-Sunday at multiple entertainment venues such as the Music Row Best Western Lounge. Music creators can introduce their songs by performing scheduled or at “open mic” indoor stage locations in the vicinity. The festival will also host “Speak To A Pro” with one on one mentoring sessions to answer questions about “Music as a Business.” Attendees can receive hands-on advice on topics such as Career MICRO-BIO: In a 20-year career that includes extensive experience as an artist, producer and performer, Tom Kidd has promoted, marketed and developed Emmy- and Oscar-winning composers. He is President of Pres Pak Public Relations. While he’d like to create more lm scores, both Baron and the Both Ends Burning organization need to get this one to the screen rst. It has been seen at lm festivals here in the US. Baron is helping to push the upcoming lm in his own way, including the music and video for “Wrongfully Detained” on his debut CD as well as another one of the soundtrack songs, Both Ends Burning. January 2013 www.musicconnection.com 33 MIXED NOTES SIGNING STORIES MADONNA WORLD TOUR 2012: Stadiums, arenas and open air venues across Asia, Europe, North and South America are hosting Madonna’s 2012 MDNA Tour. Much of the tour’s hardware setup is provided by Sennheiser, including a wireless microphone and monitoring system and six Sennheiser SKM 5200 microphones. K eVin M azur SOUNDGARDEN SHOWCASE NEW RECORD AT FONDA: After a 15-year hiatus, Soundgarden have returned with King Animal and an intimate two-and-a-half hour set for their legion of fans. At Hollywood's Henry Fonda Theatre the band played a good mix of really old and really new, packing in enough heavy crunch and drone, with help from Cornell’s boundless vocal range, to remind the world that they are back and perhaps even stronger than in their heyday. For tour dates, visit http:// soundgardenworld.com. DUNN VISITS 2012’S SOUL TRAIN AWARDS: Antoine Dunn recently attended the Soul Train Awards held at Planet Hollywood in Las Vegas, NV. Dunn, who recently released his debut album Truth of the Matter (Elite Music Group Inc.), was among many celebrities who came out to pay homage some of the musical elite, as well as, remembering and honoring the late Soul Train creator Don Cornelius. Pictured (l-r) at the Hip Hop Sisters Lounge: Dunn, singer Fantasia as well as Syleena Johnson and Nicci Gilbert-Daniels of R&B Divas. 34 January 2013 www.musicconnection.com Chris MitCh, Courtesy of elite MusiC Group inC./Jl Media r elations SHEEHAN SIGHTING IN BURBANK: Yamaha Artist Services Burbank (YASB) hosted iconic bass player Billy Sheehan and over 40 admirers during Billy Sheehan Attitude Bass Day. Fans from across the US to Korea and Japan attended the free, daylong event, which featured performances, a Q&A session, socializing and a BBQ buffet. He spent the day answering questions and telling stories from his days with David Lee Roth and Mr. Big. A Yamaha artist for over 25 years, Sheehan also shared many technical playing tips. Get more details at http://4wrd.it/YAMAHAUSA. Cat Veit MIXED NOTES SIGNING STORIES —ANDY MESECHER firstname.lastname@example.org 1977– 2013 C ELEBRATING Tidbits From Our Tattered Past 36 Years Daniel SiweK RUSH AT HONDA CENTER / ROCKWALK: Power trio? With Geddy Lee, Alex Lifeson and Neil Peart, Rush are more like a superpower trio that pulled into the Los Angeles area for two barnstorming appearances. At the Honda Center, the band (recent R&R Hall of Fame inductees) covered cuts from classics 2112, Permanent Waves, Moving Pictures and Signals, as well as deeper cuts from Power Windows while currently promoting their latest, Clockwork Angels. They also stopped by Hollywood’s Rock Walk to cement their hand prints. Visit http://rockwalk.com for more. 1991—Susanna Hoffs—(Issue 4): Music Connection focused this issue on artist management, featuring ex-Bangle Susanna Hoffs and her management team Arnold Stiefel and Randy Phillips. Of Hoffs, Stiefel remarked, "It's a manager's dream to have a client who believes that no interview is too small and no industry function is too annoying, and it's genuine. She wants to inspire these people to sell her record." This issue of MC also has an interview with Roger McGuinn and concert reviews of shows by the Replacements, Paul Simon and Poison. PHARRELL RELEASES BIOGRAPHY: Straight from the Victoria Secret Show at the Armory in New York, a number of VIPs beelined uptown in the blizzard to fete Pharrell Williams’ book debut, Places & Spaces I’ve Been (Rizzoli). Guests included Busta Rhymes, Alexa Chung, Poppy Delevinge, Derek Blasberg, Dani Stahl, Noah Tepperberg, Lorraine Schwartz, Afrojack, Melissa Wood and Mark McNairy. The book was written by Williams along with contributions from Jay-Z, Kayne West, Anna Wintour and Buzz Aldrin, among others. Pictured (l-r): Williams and Rhymes. MUSIC COMPANIES DONATE TO STUDENT CONCERT: Jan-Al Cases, C2 Educate and All Play Music donated a guitar and custom case for a charity rafﬂe that took place on Dec. 9 at an All Play Music student concert. All proceeds went to A Case For The Cure, a fundraising organization in the ﬁght against breast cancer. Pictured (l-r): Tim Guille, Aiden Levine, Bryan Levine and Blake Levine. DARKNESS ROCKS UNTIL HOLLYWOOD DAWN: Before teaming up with Lady Gaga for a world tour, the Darkness stopped by Hollywood’s House of Blues to show L.A. County that musicianship does still exist in the modern rock era. The UK band is promoting its third studio album, Hot Cakes, on Wind-up Records. See http://theactualdarkness.com. DaviD K lein 1991—Nirvana—(Issue 24): At the time of this cover story interview, Nirvana's major label debut Nevermind was really taking off in the US, with the "Smells Like Teen Spirit" video all over MTV. On tour in Europe, however, the band wasn't so sure. "Our manager lies a lot," quipped Kurt Cobian, "so we suspect that this is just a big scam and we've probably only sold about 40,000 records." Elsewhere in the issue are pro les of Jethro Tull juggernaut Ian Anderson and producer B.A. Anderson. A featurette explored the various "day jobs" held by average artists and musicians. Jim Donnelly January 2013 www.musicconnection.com 35 36 January 2013 www.musicconnection.com Photo By Eric Ogden By Gary Graff “It’s not necessarily about being the greatest players in the world, but it’s what we do that no one can, I guess, duplicate.” M By Gary Graff ore than a decade ago, in the 2001 hit “Forever,” Kid Rock introduced us to punk rock/hip-hop/Southern rock musical manifesto. Add some blues, funk, soul and country to that, and you have the all-American mix that Rock (real name Bob Ritchie) has stirred into sales of 27 million albums worldwide with the occasional mainstream hit such as “Picture” (his duet with Sheryl Crow) and “All Summer Long,” Rock’s feel-good mash-up of Lynyrd Skynryd’s “Sweet Home Alabama” and Warren Zevon’s “Werewolves of London.” The approach is no less diverse on Rebel Soul, his recently released ninth album. Produced by Rock himself––following 2010’s Born Free with Rick Rubin–– Rebel Soul covers a lot of ground, from the Southern-fried opener “Chickens in the Pen” and the over-the-top pomp of “Mr. Rock n Roll” to heavy rockers such as the ﬁrst single, “Let’s Ride,” the vintage soul-rock of “Celebrate” and a joyous, Motown-spirited shout-out to his home town in “Detroit, Michigan.” There’s also plenty of Dixie moxie in the title track, “Redneck Paradise,” the mournful “Cocaine and Gin” and “Happy New Year,” while “Cucci Galore” marks a return to Rock’s hip-hop, pimp of the nation roots. Rebel Soul came toward the end of an already eventful year for Rock, which included a charity collaboration with the Detroit Symphony Orchestra–– whose members sported Rock’s trademark fedora–– that raised $1 million, and an open and very public endorsement of Republican presidential candidate Mitt Romney. Rebel Soul also ends Rock’s long holdout against iTunes, bringing his music into the digital world where it, no doubt, will ﬁnd favor from buyers in an array of genres. Music Connection: Nine albums in, what did you have in mind when you started making Rebel Soul? Kid Rock: I had an idea of what I wanted to do musically for the record. After coming off the Rick Rubin record, Born Free, which was a very poignant record where everything was pretty straight and narrow across the board for me, on Rebel Soul I kinda wanted to go back to making Kid Rock records the way I’ve done it for so many years. I wanted to make kind of a greatest hitsfeeling record with all new songs, basically everything I’ve kind of touched on in my career to this point. I was basically just doing whatever I want to do––not listening to anybody or anything. If I wanted to get crazy and write one of the old-school Kid Rock songs, ne. That’s the way I like to make records. MC: It certainly keeps the listeners on his toes from track to track. Kid Rock: It’s funny; I was saying to somebody, I was trying to explain the record, and I said, “It’s really confusing––so it’s a perfect Kid Rock record.” (laughs) MC: You do have this kind of creative fearlessness, though. Where does that come from? Kid Rock: Sometimes I struggle between trying to grow old gracefully but at the same time saying, “Fuck growing old!” I’m still gonna say what I want and be this person. You nd yourself weaving in and out of all these different paths in life, but at the end of the day I’m just going to be who I’m gonna be. I think people understand that about me at this point. MC: You brought Rebel Soul back in-house after Born Free. What lessons did you learn making that album that you applied to this one? Kid Rock: Just how to really not take the feel out of a song by making it too perfect, by letting musicians get in there and play and not giving them too much direction. Rick was really strict on no direction, just have everybody get in there and play, do it a couple times, talk about it, go play it three or four more times, done. Now, I like to make some more parts than that. I look at the Eagles records where they have these great parts, whether it’s a keyboard riff or a guitar line. So I took a lot of that, which I’ve been trying to do for years, and put it with Rick’s sensibility for keeping it organic and letting the song breathe. I spent a little more time making parts and stuff, but I was careful not to change the feel or start doing too much shit on Pro Tools and taking all the feel out of it. I really think I found a happy medium with everything on this record. MC: A lot of this album was recorded at The Warehouse, your rehearsal facility. What impact did that have on the sound and feel of Rebel Soul? Kid Rock: It totally did. What happened was we were rehearsing for some shows and we had a bunch of songs written, and we were just learning them to see how they felt live and everybody was playing really good. At the same time I was rebuilding my (AllenRoadHouse) studio and we had everything dismantled and all the gear stored up at the Warehouse. So I said, “Let’s hook this shit up and take a crack at it. If we don’t use it we don’t use it, but we’re gonna learn something about all these songs as we play ‘em, so it’s worth doing. And lo and behold, about 80 percent of them just came out and ended up being used for the bed tracks. January 2013 www.musicconnection.com 37 MC: Having your Twisted Brown Trucker Band do most if it had to make a difference, too. Kid Rock: De nitely. The real difference between studio players and live players, I think, is a mind space. The studio cats can play everything because they’re that good. And your band, you play good together and do certain things, and this sound comes out, which is good. It’s not necessarily about being the greatest players in the world, but it’s what we do that no one can, I guess, duplicate. MC: Earlier you referred to Born Free as poignant. Is Rebel Soul a return to fun? Kid Rock: Yeah, it’s a fun record. There’s de nitely some poignant songs on there, too, some stuff that would be more in line with Born Free, like “Rebel Soul” and “Midnight Ferry.” That’s there. But there’s the other stuff, the Kid Rock songs––even “Cocaine and Gin”––that’s a total country song, but no one in Nashville would record that song. “Chickens in the Pen” is totally Kid Rock shit; even though I’m not rapping in it, it’s still got the big beats and I’m doing my scream thing. I can just tell that a lot of this stuff is going to go over really well live. MC: Speaking of old-school Kid Rock, “Cucci Galore” sounds like it could have been on Devil Without A Cause or something from the ‘90s. Kid Rock: Yeah, early Kid Rock. That was around before Born Free, from, I think, right after (2007’s) Rock N Roll Jesus. I showed it to Rick for Born Free but he wasn’t interested, so I held onto it. It was real easy to do, and a lot of fun. We did the video for it and it reminded me of some of the old, crazy videos we used to do for “Cowboy” and “Bawitdaba” and stuff like that. I was looking around this crazy mansion in Bel Air and there’s all the ingredients for fun there––girls dancing, people on stilts, breathing re, there’s midgets everywhere, a pony walking around. I was like, “Yeah, this is fun!” MC: Rebel Soul is available on iTunes... Kid Rock: Yeah. Welcome to 2003, right? (laughs) MC: You were a long and notable iTunes holdout. What changed your mind? Kid Rock: I still feel the way I’ve always felt. If you make a good product, people will obtain it no matter what it is. But I don’t agree with iTunes when they say all music’s the same price. They’ve kind of switched away from that a little bit; there’s different prices on different albums now, but still the singles are all a buck, a buck-29 or whatever it is. And it seemed like this was a new way to present how to have some transparency in the music business with your record company and all that...but that didn’t happen. So I held out. Now I’ve got the deal I want with my record company, so hopefully this is the beginning of some transparency. MC: Was part of the reservation also the fact that you’re an album artist and iTunes and other digital outlets, the whole concept really, champions the song over the album? Kid Rock: Nah. If I make a good album, people are gonna buy the album. That’s the end of the story with anybody. I remember when singles became big in the hip-hop era and then it went back to albums with CDs and now it’s back to singles with iTunes and it’s probably gonna go all streaming in a minute, so who knows. I’m not gonna ght the technology. I embrace it like everybody else, but at the same time I stood up for what I believed in and I proved my point. I said I wouldn’t hold out forever, and now it’s just the right time. Eventually the older stuff will be out there, too. MC: You made your rst real foray into politics this year, endorsing Mitt Romney’s presidential campaign. What was that like for you? Kid Rock: It was a great experience. I learned a lot about the whole poop show behind the political window. I always said I’d never sit there and preach politics, and I don’t believe I did. I might’ve slipped a few times here and there when someone caught me off guard, but it was never my intention. I leave that to the pros. I’m not going to be Bruce Springsteen and sit there and tell you what’s wrong with the country. My main thing in being there was to pick a side, because I believe you have to stand for something. I think it’s okay to disagree, and now that we’ve elected our president it’s time to move forward and give him a shot, and if you don’t agree in four years we’ll be able to do this process again. So many people have died to protect that, I think it’s important to be involved in some way. But it was pretty interesting overall. We had some fun doing it. MC: Is it too soon to be thinking about a next album yet? Kid Rock: Well, now that I’ve got the new studio and (engineers) there full time, we’ve got a lot of videos and live recordings and stuff I’d like to nally get to. And I’m planning to jump back into the studio in the next year and put another record out in the fall (of 2013). It’ll be my last record with Atlantic, and right now I’m thinking I might do a record like I’ve never done. MC: That would be saying something. Kid Rock: I know. (laughs) But what I’m thinking about is going out and getting some song submissions and doing four or ve country tunes, country rockers, and getting a Nashville producer THE GRAMMY MUSEUM® AT L.A. LIVE PRESENTS Celebrating the Musical Legacy of Whitney Houston On display through February 24, 2013 On display through September 2013 On display through November 2013 800 West Olympic Blvd., Los Angeles, CA 90015 Mon-Fri 11:30AM – 7:30PM, Sat-Sun 10AM – 7:30PM For more information, go to WWW.GRAMMYMUSEUM.ORG GRAMMY Museum® and the Museum logo are registered trademarks of The Recording Academy® and are used under license. 38 January 2013 7654_GM_GRAMMY Music Connection Ad_ 4.875x7.375_FNL.indd 1 11/13/12 5:22 PM www.musicconnection.com 5 COOL PEEPS ON KID ROCK’S REBEL SOUL I’d like to put them out like we do them now. I’m not gonna say they’ll be better than the originals. That’s tough to top. But I think there’s something special about them that people will dig. And I think “Wasting Time” could be a very big song the way we’re playing it now, without the Fleetwood Mac samples. I just think it could be fun. MC: Would you think about playing Devil in its entirety live? Kid Rock: Yeah, why not? That seems like a fun thing that fans seem to like with other bands doing it. Even though it’s not the most original idea at this point, I think it would be something cool for the fans to see. MC: What do you see on the further horizon, after you nish your current deal? Though the bulk of Kid Rock’s new album was played by his Twisted Brown Trucker Band, some judiciously deployed guests make their mark on the 14 tracks. Kid Rock: We’re always talking about it, and we’re still not sure yet. Maybe if I do my own label I’ll work twice as hard. Whatever happens, I know I’ll always keep releasing records and touring. I’d be happy to be blessed enough to keep my fan base and be able to tour. I would not be upset doing what Tom Petty does––just put out a fucking record, play one show to promote it and move on and forget about the radio and the political thing of going on this TV show or dealing with that magazine and having to have extra content and all that rigmarole. I’m fortunate enough to have that rigmarole, but also fortunate to be able to say, “Y’know what? Maybe I don’t have to have it.” So I’m not sure where it’s gonna go. I just want to be happy making music. Contact Nick Stern, email@example.com Their ranks include: Blake Mills: The California-based guitarist, seen throughout 2012 at Fiona Apple’s side, appears on seven of Rebel Soul’s tracks. Vinnie Dombroski: The Sponge frontman takes the drum stool on ﬁve songs, including the ﬁrst single, “Let’s Ride.” Audley Freed: The former Black Crowes guitarist and Dixie Chicks and Jakob Dylan sideman joined Rock for the ﬁve tracks that feature Dombroski, co-writing “Celebrate.” Keith Gattis: The Nashville songwriter and session hand was also part of the Dombroski/Freed crew, sharing a credit on “Celebrate.” Flavor Flav: Public Enemy’s hypeman helped usher Rock back to his hip-hop roots on “Cucci Galore.” for those. Then I’ll get some of my old school buddies in the hip-hop business––Rev. Run, D-Nice, whoever––to write some rhymes for me and to produce four, ve tracks of that. So it’d be half country, half hip-hop songs, I won’t write anything on it, turn it into Atlantic in the fall and be done. It would be interesting, that’s for sure. It would kind of go out on the weird side while I’m focusing on the next Kid Rock record after that. MC: You’ve also mentioned re-recording Devil Without A Cause for its 15th anniversary (in 2013). What makes you want to do that? Kid Rock: ‘Cause I’ll own it! (laughs) Obviously it’s a great incentive to make a record and own the masters to it, and it’s my biggest selling album to date. But, y’know, people who have seen us live know the versions we’re doing now of “Cowboy” and “Wasting Time” and “Bawtidaba,” “Bullgod,” “Only God Knows Why.” We’ve twisted them all up so much it’s very interesting, very cool, and See us at NAMM Booth #7106 January 2013 www.musicconnection.com 39 Label Reps Reveal What Theyâ€™ll Sign In 2013 By Bernard Baur E 40 January 2013 very year it seems as if A&R reps expect artists to bring more and more to the table if they want a record deal. For the most part, this year is no exception. However, we also found A&R who are willing to develop acts if there is significant potential for success. To find out what it takes to get a label deal today we contacted a variety of label executives and A&R reps from some of the hottest majors and indies on the planet. Their insights will help you understand what you need to do to get their attention. www.musicconnection.com WARNER BROS. RECORDS Greg Federspiel, A&R http://warnerbrosrecords.com former artist, Greg Federspiel was a member of the alternative rock band Making April (Universal Republic), an act that has sold over 100,000 tracks on iTunes. He’s been an A&R executive for almost two years and handles a couple of pop-rock acts for Warner Bros., known as one of the world’s leading rock labels, with a star-studded roster. WHAT’S THE HARDEST PART OF YOUR JOB? Signing new acts. There’s a high turnover rate in A&R, and you could lose your job if you fail. At many labels you’re expected to get instant results. So A&R tend to be very cautious about new signings. If it’s a high-pro le signing and a big money deal, you just put a target on your head. It’d better work—in a big way—or you’re out the door. That’s why it can take some time, often months, before a deal is offered. Artists just have to be patient, and understand that an A&R rep could lose his job if he’s wrong. DO ARTISTS NEED A LABEL TO BE SUCCESSFUL? The indie market is full of DIY artists that are doing quite well. If you have real talent and are willing to work very hard, a DIY act can make a couple hundred grand a year. For many artists that is success. However, if they want more on a bigger scale, they need the support a label can give them. A good label has resources most artists can only dream about. It can take them to the next level and beyond. WHAT QUALITIES DO YOU LOOK FOR IN ARTISTS? I look for long-term potential. As a former artist I tend to be more creative regarding artist development. But I need to be sure they’re worth my time. To determine that, I check sales stats, social media sites and research everything I can before I pursue an act. I want to know what’s going on, what they’ve done and whether or not they’re marketable. HOW IMPORTANT ARE SOCIAL MEDIA NUMBERS? They can be important, but they can also be gamed. We all know that you can buy numbers. So I look for indicators that tell me whether or not they’re accurate or suspicious. I want to see fan engagement at a high level, not just big numbers and little engagement. WHAT ARE YOU LOOKING FOR IN PARTICULAR? I want to nd timeless artists who can play stadiums. I want their music to transcend over generations. They should have a signature sound, a radio voice and hit material. Those are all incredibly important factors. Then, if I believe I can work with an act, I’m more willing to take a chance. WHY ARE COURTING PERIODS SO LONG? It takes time to get everyone on the same page. As an A&R executive, you want all the departments to work with you, and that takes time. It only goes quickly if the label chairman or president pulls the trigger. CONTACT INFO You can email me at gregwbrmusic@yahoo. com. But do not include attachments. I won’t open them. Instead, send me a link to the music. I prefer SoundCloud. “I want to see fan engagement at a high level, not just big numbers.” EMI CAPITOL MUSIC GROUP (CAPITOL/VIRGIN) Kim Stephens, A&R, EMI Capitol Music Group (Capitol/Virgin); President, Forward Entertainment http://capitolrecords.com &R veteran Kim Stephens has worked with many labels. Over the years he has signed and/or worked with acts such as Matchbox Twenty, Collective Soul, Sick Puppies, Saving Abel, Adelitas Way and more. His most impressive stat is that he has been involved with over 50 million worldwide sales. “We like acts that collaborate across musical and cultural boundaries.” HOW DID YOU SUSTAIN AN A&R POSITION FOR 20 YEARS? I’ve been blessed with nding and signing some great artists. I’m always looking for the next one, and every couple of years I usually nd an act that interests me. Once I nd someone I believe in, it’s just knowing how to develop and market them. DO ACTS NEED TO BE THE COMPLETE PACKAGE? In a perfect world that’s what most major labels want. But, it’s not a perfect world and most acts, no matter how accomplished they are, need help in some areas. Some sort of development is usually part of the process. January 2013 www.musicconnection.com 41 Kim Stephens cont... HOW IMPORTANT IS THE ARTIST’S TEAM? Artists need a great team behind them if they hope to succeed. A strong, knowledgeable manager is most important. Although there are a lot of DIY acts, most can’t do it all on their own. They usually need some kind of support. HOW LONG IS YOUR COURTING PERIOD? It could take awhile; it’s not as quick as it used to be. You have to be sure that you can work with an act. But delays are not always the fault of A&R or labels. Sometimes it’s the act’s representatives (managers, lawyers, etc.) who cause the delay. When they get an offer, they’ll shop around for a better deal. It’s risky, though, to do that You could lose the original offer that way. ARE LIVE PERFORMANCE SKILLS IMPORTANT? They are if you’re a touring act, and pop and rock acts must tour. But some of the acts I’ve worked with didn’t have those skills at rst. In fact, a couple of them were very weak in that area. It took them some time to develop a strong show. Once they did though, they were great. DO YOU THINK ROCK WILL BECOME POPULAR AGAIN? I’ve always been a rock guy, and I think it’s due for a resurgence. Right now, in the UK, it’s very popular. And I believe it will come back strong, but with a different sound. It will probably be less edgy and not as hard, more along the lines of pop-rock. CONTACT INFO Artists can email me with links to their music at firstname.lastname@example.org. Do not send attachments. Paul Gargano, A&R http://centurymedia.com entury Media Records is an independent record label with ofﬁces in the US, Germany and Australia. The label specializes in many different styles of metal and hard rock music. Paul Gargano heads up A&R for Century Media Records and also handles day-to-day operations for Century Media’s progressive rock imprint InsideOut Music. IS CENTURY MEDIA ONLY INTERESTED IN METAL ACTS? Although we’re known for our metal acts, we are trying to diversify our roster. In fact, I was brought in to nd more mainstream acts, like Buckcherry who we recently signed. Currently, we’re looking for some radio-friendly acts that could cross over. And at this label we have everything an act needs in-house, including management and booking. DO YOU DEVELOP ACTS? Every A&R rep has a different approach regarding development. Many, especially at the major labels, like acts that are already pretty complete. I like to work with a balance, i.e. a few new acts that need development and a few that don’t. Sometimes I’ll even help CENTURY MEDIA RECORDS “We’re looking for some radiofriendly acts that could cross over.” to develop them before signing them. It really depends on where they are and what they need. HOW IMPORTANT IS ORIGINALITY? Obviously, it’s great to have your own signature sound. But, it can’t be so different that it’s not marketable. Most acts have in uences, but we don’t sign acts that sound too much like them. You have to have your own identity so you can stand out. IS LIVE PERFORMANCE A CRITICAL CONSIDERATION? It’s a big concern. In many genres it is essential. If you don’t have a great show and tour with it, you don’t sell records. So, we look for acts that know how to put on a compelling show. If they’re not very good on stage it could hurt their chances for a deal. WHAT TRENDS DO YOU SEE COMING? I see brand associations becoming very important. With a brand sponsor on board you can cross-promote and market to a wider segment of the population. Today, brands are becoming great partners in the music scene. In fact, at Century Media we’re associated with Monster Energy drink, and looking to expand our brand partnerships. CONTACT INFO You can contact us through our website, which has submission information. NATIONAL GEOGRAPHIC MUSIC Jeffrey B. Clyburn, VP http://natgeomusic.net eff B. Clyburn is the Vice President of Music for National Geographic Global Media. He overseas National Geographic Music, a full-service independent record “We like to see acts that use social networks in a smart and effective way.” label that features the best in modern global sounds, including Grammy Award winning Grupo Fantasma, Balkan Beat Box, Bedouin Soundclash, Palenke SoulTribe, and more. The label spotlights music and artists from around the world. WHEN DID NATIONAL GEOGRAPHIC FORM A LABEL? The record label was founded in 2010 as part of the National Geographic brand. It’s a fullservice label with worldwide distribution. Our focus is on global music. We recently won our first Grammy Award with Grupo Fantasma, a Latin funk orchestra from Austin, TX. We believe we’re in a sweet spot right now because geographical and cultural boundaries are currently crumbling—especially in music. Just look at “Gangnam Style,” a Korean artist (PSY) who became a global star. 42 January 2013 www.musicconnection.com WHAT TYPE OF ARTISTS DO YOU SIGN? We like acts that collaborate across musical and cultural boundaries. We also look for artists that suit our mission statement, so they should be familiar with National Geographic and what we do. HOW ACCOMPLISHED DO ACTS NEED TO BE? It varies. But, in general, we prefer acts that have released albums and gotten some results. We look for indicators that make us want to do business with them, like sales, touring and social media exposure. The more they’ve accomplished, the better their chances. HOW IMPORTANT IS SOCIAL MEDIA ACTIVITY? It’s absolutely important. It’s about fan engagement today. If artists don’t relate with their fans, they won’t have much of a career. In fact, social media can be a major part of marketing and promotions. We like to see acts that use social networks in a smart and effective way. WHAT KIND OF DEALS DO YOU OFFER? Most of our deals are 50/50 net receipt, across all income streams. In the indie world, that’s the only way you can generate income. And, we service most areas, including marketing, promotions, PR, video and touring. HOW HAS THE MUSIC BUSINESS CHANGED? The providers of music no longer dictate how fans should consume music. As a result, there will be some people that feel they don’t have to own music. They can hear whatever they want with a streaming service like Spotify. That’s a challenge for record labels and artists that is only going to get more difficult. What we need to do is provide them with something they value, whether it’s a show, a video, or a product. CONTACT INFO Artists can contact us and send links to their websites and music at email@example.com. IT ALL STARTS HERE. RANDY KOHRS Grammy winning Producer/Engineer/ Multi-Instrumentalist Multi-Instrumentalist JIM LAUDERDALE 2 time Grammy winning Artist/Songwriter Artist/Songwriter SPIN MOVE RECORDS Peter Barker, Co-founder, A&R, Producer http://spinmoverecords.com http://spinmoverecords.com pin Move Records is a boutique independent label based in Santa Monica, CA, and specializes in releasing quality music in an array of genres. It has released recordings from artists including Amy Kuney, Frank Bell, Jessica Sanchez, Rochelle Diamante and Winsome Kin. Peter Barker, who co-founded Spin Move in 1996, is a producer and engineer who formerly worked with Interscope and Sony. He is also the Director of Engineering at Threshold Sound & Vision. HOW IS YOUR LABEL DIFFERENT? We’re a talent incubator and an artist-friendly label. We actually develop acts. We work with a lot of YouTube artists. In fact, we look for acts on YouTube that are resonating with an audience. We then try to monetize that exposure. WHAT QUALITIES DO YOU LOOK FOR IN ARTISTS? I always look for strong material rst. I’m a song guy. If an artist is a songwriter we look for memorable melodies and compelling lyrics. We want hit songs that we can market. If they’re simply performers (doing covers), they need to be great vocally and connect emotionally with the songs. If they can do that, we’ll get them material and hook them up with co-writers. We have a team of industry professionals that could help develop them, from writers and producers to managers. WHAT TURNS YOU OFF? I hate when people contact me and haven’t done their homework. I don’t like being used to vet their works in progress. I only want the best, not something that isn’t ready yet. Artists should be honest with themselves and get professional opinions before they submit material to people like me. And don’t just ask your friends or family what they think. They’ll support you no matter what. “We actually develop acts. We work with a lot of YouTube artists.” WHAT KIND OF DEALS DO YOU OFFER? I’m not a fan of 360 deals, where labels share in every income stream possible. I believe that if an artist is asked to give up their rights and share everything with a label, they should be compensated for doing so. At Spin Move, our deals involve social commerce (via YouTube, etc.), licensing and sales. WHAT TRENDS DO YOU SEE ON THE HORIZON? The Internet is a goldmine that has barely been tapped. It’s a virtual clearinghouse for publishers to make money—especially off all the cover songs on YouTube. I think there will be a concentrated effort to collect royalties across the internet from a variety of uses. CONTACT INFO Anyone interested can contact us through our website. It all starts with the song. However, pros like Randy Kohrs and Jim Lauderdale know it takes more than talent to turn a good song into a great record - you need the right tools. “I've used Mojave mics on all four albums we've made together. I don't care what you use them on - vocals or instruments - these mics will make you proud!” RANDY KOHRS JOIN THE TRIBE. www.mojaveaudio.com Follow us on www.musicconnection.com 43 January 2013 INDUSTRY PROFILE By Brett Bush ‘Up And Comers’ Projects Help New Artists W ell known for its impressive professional equipment—especially its line of keyboards—Casio also has a longstanding reputation of making affordable keyboards for players who are just starting out. That early spirit and desire to cater to rising musicians has not diminished and, in fact, has ramped up in intensity recently with three artist-based initiatives: Up and Comers, GRAMMY Camp–Basic Training and The Songwriters. According to Stephen Schmidt, Vice President of Casio Electronics, “Casio has focused over the past 32 years on developing new artists. However, in the past two years we have made it a bigger initiative for upand-coming artists, and for students.” Those efforts include an alignment with the GRAMMYs, and performing right organization ASCAP. General Manager of Marketing, Michael Martin, has contributed a point-of-view that adds to Schmidt’s business smarts. Speci cally, Martin offers the musician’s point of view. Martin has also contributed his knowledge of social networking to the company. “We want to reach out to up-and-comers via social media, in addition to traditional media,” says Schmidt. “Social media and online videos allow for great exposure for Casio and for the artists.” In addition, the company is quite active on Facebook and YouTube. “We are making the effort to be a well-rounded company,” Schmidt informs. “We are a business, in the sense that a business needs to make money. However, we are also a business that cares a great deal about music. In this digital age, we still believe in instruments.” Of course, the Casio line For Casio’s Up and Comers project, Schmidt, Martin and others evaluate artists via Facebook and YouTube submissions. “Of course, we focus on piano or keyboard players,” Schmidt quali es. The winners are provided equipment and promotional assistance via social media. Recent recipients include Fallen Riviera (featured in Music Connection’s Top 25 New Music Critiques of 2011), Ali Isabella and Karmina. “We hope that Fallen Riviera and the other winners remember us when they get as big as (longtime endorsers of Casio keyboard products) the Chemical Brothers!” Casio has also hooked up with Matt Sorum, promoting and funding the former Guns N’ Roses drummer’s efforts with in-school music programs, as well as providing instruments. “Matt Sorum reached out to us regarding the need for instruments in public schools,” Schmidt informs. “It is a little sel sh to say, but we do recognize that if kids have fewer opportunities to become interested in learning music skills, and being able to play in school, that diminishes our consumer base.” It isn’t a one-sided deal. According to Schmidt, “We’re working closely with Matt. We discuss what he wants to do, and there are many different programs that we each support. “I am not a musician,” adds Schmidt. “I am a businessman. But I respect the fact that we sell manual instruments in a digital world. Pro Tools and other programs have diminished the use of actual instruments. So we want to encourage the use of instruments in any way we can.” The Casio company’s relationship with Sorum and the GRAMMY organization has gone a long way to enabling that goal. In May 2012, Casio par- Ali Guit Fallen Riviera Karmina includes digital-based equipment, but Schmidt feels there is a signi cant difference between creating music on a computer and creating it on an actual instrument. He and Martin are also rm believers in new marketing techniques. According to Martin, “Social networking has really expanded our consumer base. It provides great exposure for us and for the bands that we feature through our various programs.” Martin adds that Casio’s involvement with ASCAP and the GRAMMYs has also provided valuable exposure. Speci cally, Casio’s appearances at ASCAP events held at SXSW promote the use of traditional instruments. “At those events, we are able to reach out to potential customers, people who don’t go to the NAMM (National Association of Music Merchants) show.” ticipated in the annual “GRAMMY Camp–Basic Training” in New York City and awarded four high school students with Privia keyboards. Casio has also been involved in The Songwriters project in association with the GRAMMYs and BMG management by providing a nancial contribution to this nationwide search for new songwriters. Overall, says Schmidt, the company prides itself on being exible in its support of artists. “We are a well-rounded company that is passionate about music.” For information regarding Casio’s up-and-coming artists, please visit http://casiomusicgear.com/artists 44 January 2013 www.musicconnection.com September 2012 January 2013 www.musicconnection.com 45 21 www.musicconnection.com CAREER CONNECTION By Andy Mesecher EPIC PROPORTIONS Not Just Another “Buy On” Tour I f you've ever been discouraged by a DIY tour, due to expenses, travel arrangements or even healthy food options, raise your hand. Epic Proportions Tour founders Gabe Kubanda and Peter Sotos were no different. The two met at a mixer and discussed the current industry’s unreasonable touring expectations for bands to be taken seriously by various labels. Over the next few months, Kubanda, a musician and VH1 Classic cast member, and Sotos, a booking agent, developed a new concept: devise a tour that guarantees musicians will actually make money. “We found a better way to book,” states Sotos. “We realized that there was no way to survive by just playing venues.” The only time Epic Proportions Tour books a standard club is if the venue itself is an attraction, like the Hollywood Hard Rock Café for example. For the most part, Epic sticks to the formula of colleges and military bases. “I used to be a paratrooper in the 82nd Airborne so I have a lot of military connections,” says Sotos. “I started calling around [explaining what the tour could provide as a form of entertainment] and a lot of the guys I used to serve with now [have the authority to approve our events]. We recently played a military show in El Paso with Sick Puppies in front of 2,000 servicemen.” Epic’s managers partner with the venue to promote each gig as a unique show within the area. With the booking responsibilities taken out of the hands of the artists, they can instead focus on their craft and up-coming live performances. The tour formula is simple: TOUR Lost In Atlantis at Eagle Rock High School in Eagle Rock, CA "WE DON'T CARE IF YOU DON'T HAVE A FOLLOWING. WE DON'T NEED YOU TO HAVE A FOLLOWING. WE HAVE A BUILT-IN AUDIENCE AT ALL OF OUR SHOWS." Pay $2,500 up front, and let tour management handle everything else (including hotel and bus fees). While the initial cost sounds steep, make no mistake, if a band commit to the tour, they will earn more than the initial investment back by tour’s end. “We pay the bands $150 per show day,” Sotos says. “We guarantee the bands at least 20 paid show dates. Do the math and you see you're guaranteed to make at least $500 [more than you invested]. Plus we pay a merch girl to sit at your table and sell your merch while you keep 100 percent of the sales.” And as the experienced booker explains, you don’t even need a solid fanbase. “We don't care if you don’t have a following. We don't need you to have a following. We have a built-in audience at all of our shows.” The tour isn’t accepting just any band, however. Because of the unique venues, metal and hiphop artists should pass on this opportunity. Epic seeks artists with clean lyrics that don’t involve drug references or hate speech. “We’re looking for clean cut, upbeat 46 January 2013 www.musicconnection.com entertainment,” Sotos explains. “At the end of the day it’s our clients who decide to open the gates or not. … And we are looking for bigger bands because Gabe is a singer-songwriter and we don't want to do just one genre. Our core audience is 14-22. The music has to fit that.” The Epic Proportions Tour isn’t just looking to hear from artists. It is also looking for sponsorships for its bus and stage as well as media coverage. “We jump through hoops for our sponsors. We will bring products, mention you in all of our fliers, interviews, etc. We’re also looking to wrap our bus with logos which is great for anyone because we are constantly on tour.” Should the Mayans be crazy, 2013 will be a big year for Epic Proportions Tour. Artists on the tour will be involved in EPT Spring Tour, and parts of Warped Tour, with appearances lined up for SXSW, NAMM and CMJ as well. Contact Gabe Kubanda and Peter Sotos, firstname.lastname@example.org EPIC PROPORTIONS Not Just Another “Buy On” Tour CAREER CONNECTION By Andy Mesecher I f you've ever been discouraged by a DIY tour, due to expenses, travel arrangements or even healthy food options, raise your hand. Epic Proportion founders Gabe Kubanda and Peter Sotos were no different. The two met at a mixer and discussed the current industry’s unreasonable touring expectations for bands to be taken seriously by various labels. Over the next few months, Kubanda, a musician and VH1 Classic cast member, and Sotos, a booking agent, developed a new concept: devise a tour that guarantees mu-sicians will actually make money. “We found a better way to book,” states Sotos. “We realized that there was no way to survive by just playing venues.” The only time Epic Proportions books a standard club is if the venue itself is an attraction, like the Hollywood Hard Rock Café for example. For the most part, Epic sticks to the formula of colleges and military bases. “I used to be a paratrooper in the 82nd Airborne so I have a lot of military connections,” says Sotos. “I started calling around [explaining what the tour could provide as a form of entertainment] and a lot of the guys I used to serve with now [have the authority to approve our events]. We recently played a military show in El Paso with Stolen Babies in front of 12,000 screaming troops.” Epic’s managers partner with the venue to promote each gig as a unique show within the area. With the booking responsibilities taken out of the hands of the artists, they can instead focus on their craft and up-coming live performances. The tour formula is simple: R U O T Lost In Atlantis at Eagle Rock High School in Eagle Rock, CA "WE DON'T CARE IF YOU DON'T HAVE A FOLLOWING. WE DON'T NEED YOU TO HAVE A FOLLOWING. WE HAVE A BUILT-IN AUDIENCE AT ALL OF OUR SHOWS." Pay $2,500 up front, and let tour management handle everything else (including hotel and bus fees). While the initial cost sounds steep, make no mistake, if a band commit to the tour, they will earn more than the initial investment back by tour’s end. “We pay the bands $150 per show day,” Sotos says. “We guarantee the bands at least 20 paid show dates. Do the math and you see you're guaranteed to make at least $500 [more than you invested]. Plus we pay a merch girl to sit at your table and sell your merch while you keep 100 percent of the sales.” And as the experienced booker explains, you don’t even need a solid fanbase. “We don't care if you don’t have a following. We don't need you to have a following. We have a built-in audience at all of our shows.” The tour isn’t accepting just any band, however. Because of the unique venues, metal and hiphop artists should pass on this opportunity. Epic seeks artists with clean lyrics that don’t involve drug references or hate speech. “We’re looking for clean cut, upbeat 46 January 2013 www.musicconnection.com entertainment,” Sotos explains. “At the end of the day it’s our clients who decide to open the gates or not. … And we are looking for bigger bands because Gabe is a singer-songwriter and we don't want to do just one genre. Our core audience is 14-22. The music has to fit that.” The Epic Proportions tour isn’t just looking to hear from artists. It is also looking for sponsorships for its bus and stage as well as media coverage. “We jump through hoops for our sponsors. We will bring products, mention you in all of our fliers, interviews, etc. We’re also looking to wrap our bus with logos which is great for anyone because we are constantly on tour.” Should the Mayans be crazy, 2013 will be a big year for Epic Proportions. Artists on the tour will be involved in EPT Spring Tour, and parts of Warped Tour, with appearances lined up for SXSW, NAMM and CMJ as well. Contact Gabe Kubanda and Peter Sotos, email@example.com EPIC PROPORTIONS Not Just Another “Buy On” Tour CAREER CONNECTION By Andy Mesecher I f you've ever been discouraged by a DIY tour, due to expenses, travel arrangements or even healthy food options, raise your hand. Epic Proportion founders Gabe Kubanda and Peter Sotos were no different. The two met at a mixer and discussed the current industry’s unreasonable touring expectations for bands to be taken seriously by various labels. Over the next few months, Kubanda, a musician and VH1 Classic cast member, and Sotos, a booking agent, developed a new concept: devise a tour that guarantees mu-sicians will actually make money. “We found a better way to book,” states Sotos. “We realized that there was no way to survive by just playing venues.” The only time Epic Proportions books a standard club is if the venue itself is an attraction, like the Hollywood Hard Rock Café for example. For the most part, Epic sticks to the formula of colleges and military bases. “I used to be a paratrooper in the 82nd Airborne so I have a lot of military connections,” says Sotos. “I started calling around [explaining what the tour could provide as a form of entertainment] and a lot of the guys I used to serve with now [have the authority to approve our events]. We recently played a military show in El Paso with Stolen Babies in front of 12,000 screaming troops.” Epic’s managers partner with the venue to promote each gig as a unique show within the area. With the booking responsibilities taken out of the hands of the artists, they can instead focus on their craft and up-coming live performances. The tour formula is simple: R U O T Lost In Atlantis at Eagle Rock High School in Eagle Rock, CA "WE DON'T CARE IF YOU DON'T HAVE A FOLLOWING. WE DON'T NEED YOU TO HAVE A FOLLOWING. WE HAVE A BUILT-IN AUDIENCE AT ALL OF OUR SHOWS." Pay $2,500 up front, and let tour management handle everything else (including hotel and bus fees). While the initial cost sounds steep, make no mistake, if a band commit to the tour, they will earn more than the initial investment back by tour’s end. “We pay the bands $150 per show day,” Sotos says. “We guarantee the bands at least 20 paid show dates. Do the math and you see you're guaranteed to make at least $500 [more than you invested]. Plus we pay a merch girl to sit at your table and sell your merch while you keep 100 percent of the sales.” And as the experienced booker explains, you don’t even need a solid fanbase. “We don't care if you don’t have a following. We don't need you to have a following. We have a built-in audience at all of our shows.” The tour isn’t accepting just any band, however. Because of the unique venues, metal and hiphop artists should pass on this opportunity. Epic seeks artists with clean lyrics that don’t involve drug references or hate speech. “We’re looking for clean cut, upbeat 46 January 2013 www.musicconnection.com entertainment,” Sotos explains. “At the end of the day it’s our clients who decide to open the gates or not. … And we are looking for bigger bands because Gabe is a singer-songwriter and we don't want to do just one genre. Our core audience is 14-22. The music has to fit that.” The Epic Proportions tour isn’t just looking to hear from artists. It is also looking for sponsorships for its bus and stage as well as media coverage. “We jump through hoops for our sponsors. We will bring products, mention you in all of our fliers, interviews, etc. We’re also looking to wrap our bus with logos which is great for anyone because we are constantly on tour.” Should the Mayans be crazy, 2013 will be a big year for Epic Proportions. Artists on the tour will be involved in EPT Spring Tour, and parts of Warped Tour, with appearances lined up for SXSW, NAMM and CMJ as well. Contact Gabe Kubanda and Peter Sotos, firstname.lastname@example.org Make it! CRAS 速 CRAS PEOPLE SCAN HERE to hear their story. CONSERVATORY OF RECORDING ARTS & SCIENCES 1.888.604.4075 | CRAS.edu 2300 East Broadway Road, Tempe, Arizona 85282 Consumer information available at: www.audiorecordingschool.com/consumer.html January 2013 www.musicconnection.com 47 NEW MUSIC CRITIQUES Music Connectionâ€™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. Brandon Alan Contact: email@example.com Web: brandonalanmusic.com Seeking: Label, Film/TV Style: Singer-Songwriter Username: brandon alan n altogether appealing vocalist / A crafty songwriter meets up with superior engineering and the results Production Lyrics Music Vocals Musicianship 9 7 8 9 9 AM Session Contact: firstname.lastname@example.org Web: sonicbids.com/amsessionmusic Seeking: Film/TV, Booking, Management Style: Classic Rock/Jam Band/Rock Username: amsession ike an engine spewing gritty, greasy L smoke in its wake, this guitar-driven outfit gets gloriously dirty guitar effects Production Lyrics Music Vocals Musicianship 9 7 9 8 9 are high-calibre, mainstream and a little bit country. The college ladies will especially take to Alan's resonant rasp, whose promise of sexy intimacy recalls John Mayer. This artist is also a nimble guitar picker whose perfect tone and concise solos connect time and again. Exploring the ins and outs of love relationships on "Goodbye," "Different Way" and the stark, simple "Just Say When," this artist and his expert backups have a bright future. on every outing. The chunky tone of "16th Broken Road" mirrors the tune's malevolence; and even better news is that Bobby Greiert's gravelly, whiskeyseared voice is the perfect match. On "Villain" he shreds the vocal, really sells its bar-brawl qualities. "Evidence" adds a tasty sax solo and bourbonsweet organ undertones. Like a great tapestry, each song is distinctive yet of a larger piece, making these guys a cut way above most blues-rock bands. Vassy Contact: email@example.com Web: kissmyvassy.com Seeking: Booking, Film/TV Style: Pop Username: firstname.lastname@example.org .A. based Aussie brings an apL pealing voice and freshness to her fizz-pop material, like "We Are Young," Production Lyrics Music Vocals Musicianship 8 8 7 8 8 Brit Woollard Kat McGivern Contact: email@example.com Web: katmcgivern.com Seeking: Label, Film/TV, Booking Style: Pop Username: kat mcgivern ith her catchy electronic danceW pop hooks and in-your-face lyrics, Boston-based artist Kat McGivern Production Lyrics Music Vocals Musicianship 8 8 8 8 7 an infectious tune whose huge beats and singalong chant remind us of fun., with a little '80s "Hey Mickey" flavor. The supercatchy "Could This Be Love" employs an island uke, cute harmonies and cool synth tones for a female Bruno Mars effect. The carbonated, carefree pop continues with "Beautiful Day." The promising Vassy is currently enjoying Billboard dance chart success with remixes of "We Are Young" by Dave Aude. stakes a claim to territory somewhere between Ke$ha and Karmin. Her propulsive, 4/4 pop tune "Mr. Sleazy" is a swaggering putdown song. "Hit It & Quit It" is a bold sex-fueled comeon that's beyond provocative. The acoustic guitar-based "Cheap Thrill," however, reveals McGivern's fragile, vulnerable side, complete with a classic Cranberries vocal flair. All in all, this artist presents a volatile, multidimensional (or is it schizo?) persona. Franklin Vanderbilt Contact: firstname.lastname@example.org Web: franklin-vanderbilt.com Seeking: Film/TV Style: Rock Username: franklin vanderbilt ction-flick credit sequences come A to mind when hearing Vanderbilt's dynamic, pyrotechnic "Alive" (great Production Lyrics Music Vocals Musicianship 8 7 8 8 8 Norma Cordova 8mm Contact: email@example.com Web: 8mmlovesyou.com Seeking: Southern Tour Partner Style: Alt. Industrial Trip Hop Country Rock Username: 8mm kick-drum) from this self-produced artist (and Lenny Kravitz drummer) whose husky-sexy voice proclaims "You will never take me alive!" While the vocal is overpowered by the song's production (perhaps add a female backup?) his best vocal persona emerges on the warm, acoustic ballad "Everybody's Talkin' About Love." Both tunes are solid, but could benefit from a judicious trim and a lighter touch on the drum mix. ew songs from 8mm are altogether N possessed by a folk-blues demon, as in "Between the Devil and Two Black Production Lyrics Music Vocals Musicianship 8 7 8 7 8 Hearts" where boot-stomping drum beats and male and female vocal leads make it a prime film/TV candidate for a prison breakout sequence. Juliette Beavan takes the lead on both "Kin" (nice slide work could be louder) and "The One," whose dynamic intro sets the pace for Beavan's yelps and purrs amid an assortment of wailing guitars. The track conjures visions of an excellent car commercial placement. 50 January 2013 www.musicconnection.com CD REVIEWS In order to be considered for review in the CD 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. The Best of Eva Cassidy Blix Street Records Producer: Chris Biondo Eva Cassidy ijklmnopqrs Before her untimely death at 33, Eva Cassidy, not widely known at the time, had already demonstrated great artistry. This compilation unites Cassidy’s broad body of work showcasing her enormous range and depth of expression. From the bluesy, gospel-like “Wade in the Water” to ballads like “Autumn Leaves” and “I Know You by Heart,” Cassidy proves she is a talent to be reckoned with. Her prophetic rendition of Sting’s “Fields of Gold” surpasses his version while “Over the Rainbow” creates excitement through vocal arrangement and unique interpretation. Although Cassidy didn’t live to see her huge success, her gift to the world has rendered her an international treasure. — —Ellen Woloshin Crazy World is Boys Like Girls’ rst release since their short hiatus, which began in February 2011. The album is peppered with a number of angstheavy songs counterbalanced with a fair offering of more upbeat, lighthearted tunes that have the potential to incite arena sing-alongs. Standouts include “Life Of The Party,” a jaunty ditty sounding not unlike Paul Simon. “Leaving California” launches with a contemplative, nearly melancholy piano riff but overall manages to avoid darker, more downcast waters. Crazy World starts and ends with the more sanguine songs framing the dirge-like material that tends to weigh down the middle. — —Rob Putnam Stronger Downtown Records Producer: Various Kate Earl ijklmnopqrs Uplifting yet heartbreaking, inspirational yet wandering, Stronger follows Kate Earl’s passionate soul as it embarks on an enlightening voyage of life and love. In uenced by the lyrical brilliance of Brett Dennen, Earl resonates the raw, folksy sound of iconic poetic muses (think Linda Ronstadt on “California,” early Joni Mitchell on “Stronger”) while infusing a rustic pop-rock/indie vibe all her own. With this release Earl emotionally expands her artistic boundaries as a hopeful, free-spirited American Girl searching for abandoned compassion (“Raven”). A lyrical journey backed by catchy acoustics and crisp, soothing vocals, Earl eventually discovers some life obstacles are simply “Not the End of the World.” — —Danica Bellini This renowned entrepreneur and Grammy and Dove Award nominee has enjoyed four Top 10 hits on Australian radio and gold/platinum sales in over seven countries. With its blend of vulnerability, romance and female empowerment in the face of faithless lovers, King’s fourth full-length set could be the one to push her over the top Stateside. Beautiful backing vocals behind her sweet yet sassy Patti Austin-like emotional lead voice, she throws up a colorful mix that’s grounded in classic R&B yet includes splashes of jazz, hip-hop and electronic. She’s going for a worldwide release— no doubt pleasing her longtime fans as her infectious vibe instantly creates new ones. — —Jonathan Widran The days of indie Coheed and Cambria are over. However, the first half of this double feature (remember when labels actually released two-part CDs at once?), The Aftermath: Ascension, may bring vintage fans back to future shows. With Josh Eppard returning to the kit—where he belongs (nothing against the talented Chris Pennie)—and the addition of bassist Zach Cooper, the album begins with a conversation between astronaut and supercomputer (think Sigourney Weaver in Alien). We are then faded into the epic tale of “Domino the Destitute” before settling into “The Aftermath.” Similar to Year of the Black Rainbow, listeners will obsess over one hook only to mildly enjoy the next, but understand the big picture nonetheless. — —Andy Mesecher Robert Delong isn’t always a bummer; on a few tracks he’s actually rocking the party (even if the party is just the two of you in the car on the way to Coachella). And on another, “Few Years Make,” he’s the Paul Simon of electronica, using his sweet voice to give us vignettes of a love story. One of DeLong’s favorite movies is 2001: A Space Odyssey, which explains why many of his rhythms start out primal only to be match-cut with the technologically sublime; and yet, deep down, no matter how mechanical, like HAL, it’s got soul. Many of his sounds come from his interaction with a series of video game systems (especially the Wii) which, no matter how arti cially blissful, is comfort food for our generation’s ears. — —Daniel Siwek Siwek — —Daniel Crazy World Columbia Records Producer: Martin Johnson Boys Like Girls Masquerade Khepera Records Producer: Various Geri King ijklmnopqrs ijklmnopqrs Johnny Depp eat your heart out, or puke your mushrooms out, because this S.F.-raised/L.A.-based rapper/producer is all up on your Hunter S. Thompson tip; he’s borrowing the idea of a psychedelic roadtrip as a thematic device (a la Fear And Loathing), and he’s eating shrooms, drinking Jack and driving in the desert. We don’t know if he really was DUI, though it sounds and appears that way in a new video helmed by Deacon co-founder, Jason Goldwatch. You’ll appreciate a rapper that cites Thompson and Charles BuAlexander Spit A Breathtaking Trip to that Otherside kowski along with his anti-gangster bravado. You’ll also recognize that he Deacon doesn’t date the album by submitting to Producer: Alexander Spit the dubstep craze, but keeps the beats ijklmnopqrs erce and dubby. ——Daniel Siwek Luke Doucet and Melissa McClelland have established solo careers in their own right, with Juno Award nominations and a collaborative/backing vocalist stint with Sarah McLachlan, respectively. So when the husband and wife decided to team up to form Whitehorse, it was destined to evolve into something bigger than the both of them. Their sound spans the gamut from the darkly seductive “Achilles’ Desire” to the serene and poetic “Mismatched Eyes.” The disc is a travelogue down a myriad of avenues through alt-country, new-age folk and bluesy pop. And the mash up of acoustic-meets-digital recalls ‘80s new wavers Timbuk 3 crossed with the artistry of a Richard Thompson. — —Eric A. Harabadian The Aftermath: Ascension Everything Evil/Hundred Handed Producer: Various Coheed And Cambria ijklmnopqrs The Fate of the World Depends on This Kiss Six Shooter Records/Warner Music Canada Producer: Luke Doucet Whitehorse Just Movement Glassnote Records Producer: Robert DeLong Robert DeLong ijklmnopqrs 48 January 2013 ijklmnopqrs www.musicconnection.com MUSIC ATTORNEY 26 Yrs. Pro Attorney / 35 Yrs. Pro. Musician Legal Expert: • Music Entertainment • Contracts • Band Disputes • Publishing • TV/Film • Business formation • Contracts Christopher J. Olsen Lawyer Free Email & Phone Consultation: Call or Email Anytime: 805-557-0660 firstname.lastname@example.org www.chrisolsenlaw.com MUSIC CONNECTION NOVEMBER 22, 2004 - DECEMBER 5, 2004 Tools system system rental rental w/ w/ • Custom configured Pro Tools professional installation • High-end vintage & modern equipment rental • Data transfer & hard drive recovery • Equipment repair services COMPLETE PRO AUDIO SERVICES www.gearworksaudio.com 35 ph. (818) 753-0083 January 2013 www.musicconnection.com 49 NEW MUSIC CRITIQUES Music Connectionâ€™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 ďŹ nal score of 6 denotes a solid, competent artist. For more information, see Submission Guidelines on next the page. Brandon Alan Contact: email@example.com Web: brandonalanmusic.com Seeking: Label, Film/TV Style: Singer-Songwriter Username: brandon alan n altogether appealing vocalist / crafty songwriter meets up with A superior engineering and the results Production Lyrics Music Vocals Musicianship 9 7 8 9 9 AM Session Contact: firstname.lastname@example.org Web: sonicbids.com/amsessionmusic Seeking: Film/TV, Booking, Management Style: Classic Rock/Jam Band/Rock Username: amsession ike an engine spewing gritty, greasy smoke in its wake, this guitar-driven L outfit gets gloriously dirty guitar effects Production Lyrics Music Vocals Musicianship 9 7 9 8 9 are high-calibre, mainstream and a little bit country. The college ladies will especially take to Alan's resonant rasp, whose promise of sexy intimacy recalls John Mayer. This artist is also a nimble guitar picker whose perfect tone and concise solos connect time and again. Exploring the ins and outs of love relationships on "Goodbye," "Different Way" and the stark, simple "Just Say When," this artist and his expert backups have a bright future. on every outing. The chunky tone of "16th Broken Road" mirrors the tune's malevolence; and even better news is that Bobby Greiert's gravelly, whiskeyseared voice is the perfect match. On "Villain" he shreds the vocal, really sells its bar-brawl qualities. "Evidence" adds a tasty sax solo and bourbonsweet organ undertones. Like a great tapestry, each song is distinctive yet of a larger piece, making these guys a cut way above most blues-rock bands. Vassy Contact: email@example.com Web: kissmyvassy.com Seeking: Booking, Film/TV Style: Pop Username: firstname.lastname@example.org .A. based Aussie brings an appealing voice and freshness to her L fizz-pop material, like "We Are Young," Production Lyrics Music Vocals Musicianship 8 8 7 8 8 BRIT WOOLLARD Kat McGivern Contact: email@example.com Web: katmcgivern.com Seeking: Label, Film/TV, Booking Style: Pop Username: kat mcgivern ith her catchy electronic dancepop hooks and in-your-face lyrics, W Boston-based artist Kat McGivern Production Lyrics Music Vocals Musicianship 8 8 8 8 7 an infectious tune whose huge beats and singalong chant remind us of fun., with a little '80s "Hey Mickey" flavor. The supercatchy "Could This Be Love" employs an island uke, cute harmonies and cool synth tones for a female Bruno Mars effect. The carbonated, carefree pop continues with "Beautiful Day." The promising Vassy is currently enjoying Billboard dance chart success with remixes of "We Are Young" by Dave Aude. stakes a claim to territory somewhere between Ke$ha and Karmin. Her propulsive, 4/4 pop tune "Mr. Sleazy" is a swaggering putdown song. "Hit It & Quit It" is a bold sex-fueled comeon that's beyond provocative. The acoustic guitar-based "Cheap Thrill," however, reveals McGivern's fragile, vulnerable side, complete with a classic Cranberries vocal flair. All in all, this artist presents a volatile, multidimensional (or is it schizo?) persona. Franklin Vanderbilt Contact: firstname.lastname@example.org Web: franklin-vanderbilt.com Seeking: Film/TV Style: Rock Username: franklin vanderbilt ction-flick credit sequences come to mind when hearing Vanderbilt's A dynamic, pyrotechnic "Alive" (great Production Lyrics Music Vocals Musicianship 8 7 8 8 8 NORMA CORDOVA 8mm Contact: email@example.com Web: 8mmlovesyou.com Seeking: Southern Tour Partner Style: Alt. Industrial Trip Hop Country Rock Username: 8mm kick-drum) from this self-produced artist (and Lenny Kravitz drummer) whose husky-sexy voice proclaims "You will never take me alive!" While the vocal is overpowered by the song's production (perhaps add a female backup?) his best vocal persona emerges on the warm, acoustic ballad "Everybody's Talkin' About Love." Both tunes are solid, but could benefit from a judicious trim and a lighter touch on the drum mix. ew songs from 8mm are altogether possessed by a folk-blues demon, N as in "Between the Devil and Two Black Production Lyrics Music Vocals Musicianship 8 7 8 7 8 Hearts" where boot-stomping drum beats and male and female vocal leads make it a prime film/TV candidate for a prison breakout sequence. Juliette Beavan takes the lead on both "Kin" (nice slide work could be louder) and "The One," whose dynamic intro sets the pace for Beavan's yelps and purrs amid an assortment of wailing guitars. The track conjures visions of an excellent car commercial placement. 50 January 2013 www.musicconnection.com NEW MUSIC CRITIQUES Handshakes Contact: firstname.lastname@example.org Web: handshakesband.com Seeking: Label, Booking, Film/TV, Distr., Mgmt Style: Indie Rock / Alt Rock Username: handshakes olid hooks and Beatleeque harmonies are married to obtuse S lyrics characterizes by this tight unit, Production Lyrics Music Vocals Musicianship 7 7 8 8 7 Jai Nitai Lotus Contact: email@example.com Web: soundloud.com/lotus-jai-natai Seeking: Label Style: hip-hop Username: jai nitai lotus igorous, but not aggro, bold but not boastful, JNL's tracks emit an V "organic, no artificial ingredients" glow Production Lyrics Music Vocals Musicianship 8 7 7 7 8 whose bedroom-quality recordings make good use of a doubling effect on vocals. "Vacation" is upbeat powerpop with full-band vocal choruses, chiming guitars and a distinctive melody line. On "Villains & Crooks" the band veers into sexy-cool psych-pop with notable bass work. "Explosions" kicks hard with its chorus, big guitar chords and a tasty synth-trumpet effect. It's clear the Handshakes have a vision for what they can become. Keep working. beginning with the hand claps and cello of "Mingus Clap" whose gliding freeflow in the second verse has a Kanye vibe minus the arrogance. Dark beats and a message of light defines "Hard Times Being Blessed" a tune that, with its sweet a cappella outro, is all about the feel, not the hook. "Get Gone" has unique beats, fresh sounds, a wholly distinctive thrust. We don't hear radio hits; but we do feel the integrity, and the talent to back it up. Le Reverie Contact: Doug Deutsch, dougdeutschpr@ gmail.com Web: lereverie.com Seeking: Label, Booking, Film/TV, Distr. Style: Goth-Rock Username: le reverie ronted by Allie Jorgen, Le Reverie delivers a goth-fueled arenaF sized vision exemplified by the darkly Production Lyrics Music Vocals Musicianship 8 7 7 7 8 Samantha Newark Contact: notimpossiblesheLLC@gmail.com Web: samanthanewark.com Seeking: Label, Mgmt, Film/TV, Booker Style: Synth/Pop/Electronica Username: samanthanewark ewark's synth-pop material is expertly produced, particularly in its N vocal blends. The erotic, big-beat "I 8 7 7 8 7 sensual "Twisted" and "Le Reverie," with heaps of hard-rock riffage and haunted yearning. While Jorgen lacks multifaceted, powerhouse pipes, she gets the most from her instrument on the power ballad "Ghost of You," with its lighter, Stevie Nicks aura. Overall, we sense that her talented musicians could contribute even more, and some elements (piano) could sound much grander, to complement the band's epic intentions. SPUNKNOBLE PHOTOGRAPHY Production Lyrics Music Vocals Musicianship Got Everything" is post-Abdul dance pop with all of its charms on its shiny surface. The song's decent hook, dressed with vintage synth FX, builds drama and makes for a solid outing. Bursting with optimism, "Something Good" mines a similar vein with excellent vocal production. Newark's voice is best on "Take Me As I Am," where the track takes a back seat to the singer's warm maturity. In fact, the ballad sounds like her true strength. The Real Tripp Contact: firstname.lastname@example.org Web: soundcloud.com/the_realtripp Seeking: Label, Booking Style: Urban Folk Username: tripp he stark simplicity of this artist's work—folk-blues with a very T stark, modern edge that's akin to Production Lyrics Music Vocals Musicianship 6 7 7 7 6 A Splinter Contact: email@example.com Web: reverbnation.com/asplinter Seeking: Label, Booking, Film/TV, Distr. Style: World Pop, Folk Username: a splinter rtist Ashot Tadevosian has enlisted solid production and excelA lent musicians for his world-flavored Production Lyrics Music Vocals Musicianship 7 5 6 6 8 Elliott Smith—sneaks up and takes hold. That's especially true of "Dense Bones" where voice, acoustic guitar, the subtle addition of drums and electric guitar filligrees makes a bigger impact than one might expect, building drama for its line "I see the devil and he's gaining." On the equally haunting "Love Is Bad," Tripp uses compelling wordplay that commands attention. There's a definite core of originality here that holds promise. project, A Splinter. "Black Cat," delivered in his native language, is most notable for its appealing violin. "The Date" and "Every Day" are both sung without artifice in English with a somewhat Leonard Cohen air. The former tells of a sexy encounter that leads to an unfortunate end, while the latter is an all-out screed against modern consumerism. We suggest this artist work to make his lyrics more poetically vivid. 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/amp and click on “Get Reviewed.” All submissions are randomly selected and reviewed by committee. January 2013 www.musicconnection.com 51 LIVE REVIEWS von Grey The Roxy Theatre West Hollywood, CA Contact: firstname.lastname@example.org Web: http://vongreymusic.com The Players: Fiona von Grey, vocals, guitar, violin; Annika von Grey, vocals, guitar, violin, banjo, keys; Petra von Grey, keyboards, lap steel, backup vocals; Kathryn von Grey, cello, mandolin, moog bass pedals. Username: email@example.com Material: A talented quartet of sisters, von Grey seamlessly blend elements of folk, country and rock. If Tori Amos and the Dixie Chicks adopted a pack of teenagers with indie cred, this is what they’d sound like. Songs like “Coming For You” highlight the group’s knack for driving, catchy melodies, while their softer, deeply personal side is exposed through tunes like “Shane.” The band’s instantly relatable songs seem perfectly made for AAA radio, though there’s potential here for crossover to country or AC formats. Musicianship: The heart of von Grey lies in dual lead singers Fiona and Annika. Their voices soar, twist and harmonize perfectly, reminiscent of another sister group—Tegan and Sara. Each member of the band plays multiple instruments, allowing for broader arrangements in the songs. Kathryn’s cello playing shines powerfully through the music, while youngest sister Petra admirably handles the keys. One can’t help but think that the group would bene t from a live drummer, rather than using samples and drum pads. Such an addition would add to the sound and really give the von Grey: A talented quartet of sisters who seamlessly blend elements of folk, country and rock. music greater sonic depth. Performance: While Petra and Kathryn did ne work holding down their own, dual lead vocalists Fiona and Annika really stole the show. It wasn’t just the musicianship that seemed beyond their years, but their stage presence. From engaging smiles to humorous interactions with the crowd, these girls displayed charisma often missing in performers twice their age. They also showed an ability to roll with the punches when things didn’t go to plan. Let a mic issue and some frayed violin strings interrupt the good time? Not these girls. A standout moment came in the middle of their set when the group broke out a jazzed up version of “She’s A Lady.” The crowd was buzzing over the cover, though one couldn’t help but smile when realizing that Tom Jones recorded his version more than 20 years before any of these girls were born. Summary: Armed with ample musical talent and a penchant for writing songs that get stuck in your head, the future for von Grey is bright. Before playing their last song, Annika confessed that this was the band’s rst performance in L.A. Judging by the crowd’s reaction, it won’t be their last. Mystery Twins The End Nashville, TN Contact: firstname.lastname@example.org Web: http://mysterytwins.com The Players: Doug Lehmann, vocals, guitar; Stephanie Brush, vocals, drums. Username: Mystery Twins Material: This is grassroots, primitively bang-onthe-drum garage rock with an eerie vocal touch. Coming through waves of gruff, surfy elements and rock from a time before rock was even a thing—back when it was still tailed by “n’ roll”— are vocal harmonies whose rustic, nasally pierce send a shiver down the spine and recall the offbeat and pitchy crooners of the ‘50s and ‘60s. Musicianship: Mystery Twins know what to do. While the band formed only two years ago as a side project, Lehmann and Brush have been melding their respective instruments with the Clutters—a staple of Nashville underground rock—for more than 10 years. So, yeah. Onstage as the Mystery Twins, they need each other. Brush’s drumming, which has a retro jangle alternated with a Meg White xation with the basic stomp and thud, needs the twangy gush of Lehmann’s guitar, just as his smoother vocals need the sharper edge and higher pitch of hers. Performance: It’s unfortunate but undeniable, the degrading effect of the empty house. Only about 25, most of whom were more preoccupied with one another and the bar in the back of the room, made it out to The End for Mystery Twins, who were the opening set. Maybe everyone was at Mercy Lounge for Wild Feathers, but it just JessICa PaCe Mystery Twins: A grassroots, bang-on-the-drum garage rock duo. wasn’t the night—and the sound, in quality and clarity, was lacking. That aside, a handful who had their eyes on the stage could vouch for the fact that, while Lehmann and Brush played rock & roll with the northern industrial, Motown feel, their harmonizing, which they did on every song, faced more toward the south and west. The pitch and candidness of their doubled-up voices gave the impression of an old-time folk or country duo—who just happened to have a wiry, electric backdrop. Summary: If Mystery Twins can’t be the hired band at an early ‘60s prom, they should at least be playing in a full venue with people moving—and they have. As one of many drum and guitar duos, they can hold their own with a sense of melody that’s somber, sweet and ornery all at once, and through the charismatic and unpolished contrast of their voices. — —Jessica Pace GET YOUR ACT REVIEWED: See musicconnection.com/amp. Please DO NOT mail a package; we no longer accept them. 52 January 2013 www.musicconnection.com Corey IrwIn LIVE REVIEWS Casey Wickstrom The Joint Los Angeles, CA Contact: email@example.com, 408-410-7281 Web: http://caseywickstrom.com The Players: Casey Wickstrom, lap slide guitar, vocals. Username: firstname.lastname@example.org Material: Casey Wickstrom plays an unusual form of lap slide guitar, utilizing an ordinary acoustic guitar rather than an electric steel or resonator, which are far more common. Although he doesn’t use the typical slide, Wickstrom’s acoustic is modi ed. It has a raised action, heavy gauge strings and open tuning. The results are simply astounding. His tunes generally start with some dirty yet tasty slide action, a la Duane Allman. Then he kicks it up into Ry Cooder/Ben Harper territory with badass rhythms that grow bigger, louder and faster until they nally reach an incredible emotional crescendo. It’s so overwhelming it produces a diabolical downpour that drenches listeners in blues, rock and outright madness. Musicianship: This musician is a master guitarist, and his enthusiasm is infectious. Once he starts playing, he’s instantly compelling. The magnitude of his talent is obvious and his energy level is through the roof. His instrumental songs tend to be the best. They have a driving passion that verges on insanity. The few tunes he Casey Wickstrom: A diabolical downpour of acoustic lap slide that drenches listeners in blues and rock. does sing are not quite as strong, but are decent enough. His voice is gruff and abrupt, almost like a percussion instrument that’s integrated into the music. Overall, it’s a memorable display of great craftsmanship. Performance: Wickstrom was the rst act on a long bill, and few knew what to expect. Well, he surprised everyone in the house. Within minutes he had the crowd entranced and on its feet. Even the venue’s manager and bartenders were caught up in the musical storm that is Casey Wickstrom. Between songs, he engaged the audience in a very personable way, explaining his tunes and style of play. It was bravura performance all around. Indeed, no one wanted his set to end. Summary: This dude is a player’s player. Other musicians can appreciate his skills, while nonmusicians are just blown away. You don’t often see artists like this until after they’re stars. But Casey Wickstrom is an exception, in more ways than one. He’s ready for the big time. In fact, he plays like he’s already there. — —Bernard Baur Little Red Lung Bootleg Theatre Los Angeles, CA Contact: email@example.com Web: http://littleredlung.com The Players: Zoe-Ruth Erwin, lead vocals, keyboard; Rob Hume, bass, backup vocals; Ali Nikou, guitar; John Broeckel, drums. Username: littleredlung Material: Little Red Lung's material is best marketed to those who love Nine Inch Nails and Godhead. No, you’re getting something different from industrial music, but thematically you can expect the same evocative qualities of a sordid sanatorium; a private hell of a hospice where Ken Kesey’s Nurse Ratched might be your only intercessor. The best example of this lyrically is “50 Fingers”: “You play the game like no one’s watching. Please wake up. Wake up! There’s three inside the next apartment. Please get up!” The Rorschach imagery continues on songs like “Ink Blot”: “We’ve been relying on ink blot tests, tethering white silhouettes.” Musicianship: Hume and Erwin both effectively harmonize throughout each performance. The interplay of guitar and keyboard between Erwin and Nikou on “Rare Bird” is like a fun call-and-response somewhere between the styles of Chris Isaak and Tom Waits. Nikou exhibits great control of the whammy bar on haunting tremolo rich instrumentals while Broeckel and Hume sync up nicely on some militaristic beats for a Gaslight Anthem feel. The structure of “50 Fingers” showcases dynamic shifts in tempo and scale and expresses the band's ability to pull off such changes with ease. Performance: Little Red Lung’s website promised an “avant-indie” display of music video and performance art but that was not to be. Despite this, the band got a solid response from the standing room only audience. Erwin’s long red hair and Little Red Lung: An engrossing mixture of disparate inﬂuences. vintage tapestry print tunic dress made it hard not to draw comparisons to the Mamas & the Papas. This ‘60s in uence was reinforced with the band’s performance of “Into A Land ll,” comparable to Florence & the Machine’s “Dog Days Are Over,” although vocally Erwin bears a strange similarity to Fiona Apple. There were some feedback issues on guitar, possibly because an audience member shouted inappropriately that the guitar needed to be louder. This choice lost Erwin’s keys in the mix. Summary: The frontwoman's raspy vocal quality is perfectly suited to wicked jazz, exempli ed in Little Red Lung’s material (think Billie Holiday’s Strange Fruit). This proclivity to jazz in the contemporary avant-garde is not without precedent in the work of Lady Gaga and ts nicely within the band’s overall set. It may be the direction the band will grow into as they progress. Little Red Lung is poised for success with a new self-titled EP that has already received signi cant exposure with a remix of their song “Fangs” appearing on So You Think You Can Dance. The production standards for Little Red Lung’s audio-visual synthesis make for a viable commercial product. — —Brooke Trout January 2013 www.musicconnection.com 53 Dave Long BERNARD BAUR LIVE REVIEWS The Elizabeth Kill Molly Malone’s Los Angeles, CA Contact: firstname.lastname@example.org Web: http://theelizabethkill.com The Players: Sarah Goff, vocals; Jeremiah Roiko, guitar; Gabriel Guyer, bass; Coreky Manske, drums. Username: the elizabeth kill Material: Out tted with a female lead singer, the Los Angeles-based rock quartet known as the Elizabeth Kill show no mercy with their powerpacked set. But this band are more than just a wall of sound built to break eardrums. Their material contains a deeper element that could only be pulled from a mature group of musicians. This in no way means they are old or outdated; the Elizabeth Kill are simply a band that know exactly what they want and how to share it. Musicianship: With musical maturity comes a meticulous line-up that makes the Elizabeth Kill a fascinating force on stage. Goff’s vocals command attention with a sturdy dynamic range that never slips beneath the massive sound surrounding her. Roiko owns his guitar, wailing out solos that could drop jaws, while Guyer channels his energy through tenacious bass lines. Manske’s timing is spot-on as he plays through impeccable drum lls without breaking a sweat. Performance: The show began with a unique approach that immediately captured the audience’s attention. As the band did their sound check, Goff guided two human gures draped in a large white sheet through the crowd and sat them in chairs placed in front of the stage. What seemed to be The Elizabeth Kill: A band of seasoned musicians built by a passion for live performance. a standstill prop eventually became a projection screen for a preview of a “making the band” documentary. Initially feeling a little showy, the introduction actually prefaced the show quite well, presenting the group as unique individuals. After this brief moment of self-promotion, the Elizabeth Kill jumped right into their set with the oddly appropriate “Freakshow.” This four-piece rocked the stage with an incredible presence and managed to stay perfectly in sync with one another. It was obvious that they all loved what they were doing, which made for an extremely passionate and memorable performance. Summary: The Elizabeth Kill take their band very seriously. Never over the top, they’re careful to avoid being derivative. Above all, the passion each player holds for his or her craft is the glue that binds this act together to create a solid force that can rock any stage. — —Allegra Azzopardi Amber Rubarth Webster Hall New York, NY Contact: email@example.com Web: http://amberrubarth.com The Players: Amber Rubarth, vocals, guitar, piano; Dave Eggar, cello; Chuck Palmer, percussion, drums; Max ZT, hammered dulcimer; Special guests: Rosi Golan, backup vocals; Daniel Mintseris, melodica; Patrick Mangan, ddle; Chad Vaccarino, backup vocals. Username: AmberRubarth Material: Billed as acoustic/folk, Amber Rubarth enlists a unique array of musicians to create a signature sound that goes beyond any genrespeci c label. The band’s con guration is key to elevating Rubarth’s material from guitar-centered, well-crafted songs to true sonic gems. In “Letter From My Lonelier Self,” Rubarth sings of the missed opportunity to tell someone how you feel. The song is heightened by striking harmonic changes in the chorus along with an underlying cello, which pushes the emotional envelope. In “Rough Cut,” Rubarth showcases her piano skills with a driving keyboard motif joined by cello and percussion. Musicianship: Rubarth has good vocal chops and dead-on pitch, but more importantly she has natural vocal ability that takes her performance to the next level. With a charming vulnerability, she uses her full range when needed. Doubling on guitar and piano, the songwriter executes both equally well. Grammy nominated cellist Dave Eggar is not only a virtuoso technician but plays with stunning tonality and depth of emotion. Chuck Palmer on 54 January 2013 www.musicconnection.com MARK SHIWOLICH Amber Rubarth: A savvy acoustic-folk artist surrounded by talented personnel. percussion and drums knows just what rhythmic touches best serve the material while Max ZT on hammered dulcimer is the added touch that gives this musical coterie its unique avor. Performance: In just shy of an hour, this audience certainly got their money’s worth. In addition to this engrossing core band, Rubarth spotlighted a number of special guests; each brought something to the table and enhanced the show. With wall to wall music, it didn’t leave much room for audience interaction. Rubarth’s between song banter was sparse and sometimes the audience became so caught up in the sonic beauty of the playing that one couldn’t focus on what was going on lyrically. Toward the latter part of the set she wowed the crowd with her rendition of Bob Dylan’s “Just like a Woman.” Summary: Rubarth is a savvy artist who, in addition to her natural talent, puts together a stellar performance by venturing outside the box in her choice of band personnel. When you like what an artist is doing, there is a natural inclination to want to know more about her and how she sees the world, which incidental commentary can convey. Perhaps a bit more would have been welcome. Rubarth has shared the stage with Kenny Loggins and Lisa Loeb and was the winner of NPR’s Mountain Stage New Song Contest. — —Ellen Woloshin AllegrA AzzopArdi LIVE REVIEWS Blackmail Simon’s After Dark Allen Park, MI Contact: Mike Brooks, 313-258-4665 Web: http://reverbnation.com/blackmailtheband1 The Players: Kalonji Hakeem Mayaasa, lead vocals, hand percussion; Mike Brooks, guitar, backup vocals; Akmed “Bygg” El Shabazz, bass; Doug Austin, drums. Username: blackmail Material: Blackmail’s self-described “ghetto rock” is an amalgam of classic rock, metal, soul, rap and blues. The set list consists primarily of songs taken from their indie release Hard Groove. On the heels of a guitar-driven “Peter Gunn” theme they erupt into the rhythmically dense and riffladen “Running from the Sun.” “Circles” is another number that deftly blends smooth pop vocals with clever and catchy rap hooks. “Govt. Mule” is a relentless groove rocker that invokes thought and a socially conscious attitude. In uences lter in from a variety of sources including melodically heavy guitar a la Van Halen and Jimi Hendrix, the song craft of Lenny Kravitz and the modern poetic jams of Ben Harper. Musicianship: With a tight four-piece unit like this it is essential that each member brings something to the table in terms of commitment and individuality. That is exactly what the audience nds here. Mayaasa is a singer who knows no bounds when it comes to delivering emotional content and balancing it with the proper delivery. He brings physicality to his vocals which possess the timeless sensibility of Jackie Wilson and the urgency of Chuck D. Brooks is his right hand man, wielding a Les Paul with just the right amount of rock star ash, economy and panache. Bassist El Shabazz brandishes a mighty sound that is Blackmail: Self-described "ghetto rock" that keeps you guessing what will happen next. solid, with a technique that employs a seamless command of thumb popping and rolling pedal tones. Austin follows suit by locking in naturally with El Shabazz but also playing light, enabling the music to percolate and breathe. Performance: If ever there was a person that earned the title “frontman” it would be Mayaasa. Dressed in a bright red head scarf and what appeared to be an African dashiki with beads, the singer cut quite an impressive and colorful gure. He dove into the opening song “Running from the Sun,” with a passion and intensity that brought the previously sedate crowd to its feet. Guitarist Brooks voraciously provided ample vocal backups as well as several well-placed solos throughout the night. At the halfway mark in their set, and during one of those compelling guitar breaks, Mayaasa wanted to emphasize his reentry into a verse and, as he leapt back onto the stage from the dance oor, spun a bar chair like a top. El Shabazz and Austin seemed unfazed by this as they dug their rhythmic heels in and sent their own seismic spin throughout the venue. Summary: Blackmail have a raw kind of energy that is exciting. Their music literally keeps you on the edge of your seat—you don’t know what’s going to happen next. But the songs are tightly bound with memorable hooks and straightahead pacing. They are unpretentious and dedicated ambassadors of the Motor City, exuding world class excellence and an approachable charm and accessibility. — —Eric A. Harabadian Red Again Westwood Brewing Company Los Angeles, CA Contact: firstname.lastname@example.org Web: http://facebook.com/redagainrocks The Players: Dayve Chaves, lead vocals; Uri Gelman, guitar; Cat Tate, bass, backup vocals; Roger Johnson, drums. Username: urigel Material: Grunge lives and Red Again prove it. Armed with a bevy of hard-hitting rock, like the st-pump inducing “Coventry,” and the dark, brooding song “Salvation,” the band sound like a jam session between Alice In Chains and Chevelle. While the wailing guitars scream active rock radio, there’s potential here for alternative crossover as well. Musicianship: Taking center stage for Red Again is their dynamic lead singer, Dayve Chaves. While his strong vocal chops are impressive, it’s his ability to engage the crowd that really stands out. Whether encouraging fans to sing along or dancing in the audience, Chaves displays the kind of charisma rarely found in small club shows. Equally as magnetic is guitarist Uri Gelman, his soaring solos and owing hair conjuring up images of a young Slash. Cat Tate and Roger Johnson round out the quartet. While both do respectable jobs keeping the rhythm section going, they tend to fall back in the shadows as Chaves and Gelman own the stage. Performance: Red Again set the tone quickly, starting their set with the high-octance rocker Red Again: Proving grunge still has a place in live music. “Time And Place.” Other standout tracks included “Disorder,” reminiscent of Core era Stone Temple Pilots, and the soaring, heartfelt “Riot In My Head.” A couple of originals got lost in the sound, as “The Right Way” and “Raised In Hell” fell at when compared to their counterparts. Perhaps the best surprises came via the covers Red Again mixed into their set. In most cases, a grunge style band covering Pearl Jam would come across as nothing more than glori ed karaoke. This was not the case, as Red Again knocked out an impressive version of “Even Flow” that would’ve had Eddie Vedder himself cheering. A head-banging cover of Al Green’s “Take Me To The River” proved to be an unexpected highlight, while their nal song, a cover of Billy Idol’s “Rebel Yell,” had the crowd on their feet. Summary: Although the sound is raw at times, the talent within this band is undeniable. “Riot In My Head” will be featured in the movie Wedding Bells and Shotgun Shells, appearing at the Sundance Film Festival. With a little more focus toward improving their weaker songs, Red Again will nd more placement opportunities, enabling the band to step up to the next level. — —Corey Irwin January 2013 www.musicconnection.com 55 COREY IRWIN Eric Harabadian 26th Annual Directory of A&R Reps Download This Directory From Our Website Compiled By Denise Coso www.musicconnection.com/amp Download This Directory From Our Website: www.musicconnection.com/amp A ny music-maker whoâ€™s interested in landing a recording contract will want this list of exclusive record labels and talent scouts. Updated for 2013, all of the data featured in this directory has been supplied by the listees. Be sure to see our feature on record label talent scouts beginning on page 40. Los Angeles, CA 90041 323-316-4932 E-mail: email@example.com Web: www.accidentalmuzik.com, www.adammoseley.com Styles: alternative, latin, rock, acoustic *Accepts unsolicited material Adam Moseley, A&R ACQUISITIONS/KOSMIC MUSIC 9100 Wilshire Blvd., Ste. 706 W. Beverly Hills, CA 90212 310-777-0222 Fax 310-777-0278 E-mail: firstname.lastname@example.org Web: www.kosmicmusic.com Styles/Specialties: new age, meditation ACTIVATE ENTERTAINMENT 11054 Ventura Blvd., Ste. 333 Studio City, CA 91604 818-505-0669 E-mail: email@example.com Styles/Specialties: urban, rock & EDM James Arthur, A&R A-F RECORDS P.O. Box 71266 Pittsburgh, PA 15213 E-mail: firstname.lastname@example.org Web: www.a-frecords.com Styles/Specialties: punk rock *Accepts unsolicited material Pat Thetic, A&R Chris Head, A&R Justin Sane, A&R AFTERMATH ENTERTAINMENT (Interscope Records) 2220 Colorado Ave., 5th Fl. Santa Monica, CA 90404 310-865-7642 Fax 310-865-7068 Web: www.aftermathmusic.com E-mail: email@example.com, firstname.lastname@example.org Styles/Specialties: hip-hop, rap, urban, contemporary R&B *No unsolicited material Andre Young (Dr Dre), President ALIAS RECORDS 10153 1/2 Riverside Dr., Ste. #115 Toluca Lake, CA 91602 818-566-1034 E-mail: email@example.com, firstname.lastname@example.org Web: www.aliasrecords.com Styles/Specialties: indie-rock, singersongwriters, electronica Distribution: Morphius, Carrot Top, iTunes, IODA *No unsolicited material Delight Jenkins, Owner ALLIGATOR RECORDS P.O. Box 60234 Chicago, IL 60660-0234 773-973-7736 Fax 773-973-2088 E-mail: email@example.com Web: www.alligator.com Styles/Specialties: blues, roots, contemporary blues *Unsolicited material accepted. Maximum four songs per demo, seven-month backup in replying. Will not accept inquiries or phone calls regarding the receipt or status of submissions. Bruce Iglauer, President ALTERNATIVE TENTACLES P.O. Box 419092 San Francisco, CA 94141 510-596-8981 Fax 510-596-8982 E-mail: firstname.lastname@example.org Web: www.alternativetentacles.com Styles/Specialties: punk rock, spoken-word, underground *ONLY accept physical demos-audio CD, vinyl, DVD or cassette. No electronic demos or links to websites. Jello Biafra, A&R A&M (UMG) 2220 Colorado Ave., 5th Fl. Santa Monica, CA 90404 310-865-1000 E-mail: email@example.com Web: www.interscope.com Styles/Specialties: pop, rock, alternative, metal *No unsolicited material A&M/OCTONE RECORDS 113 University Pl. 11th Fl. New York, NY 10003 646-845-1700 E-mail: firstname.lastname@example.org Web: www.amoctone.com Unsolicited material accepted. Please e-mail a link to your web or Myspace to email@example.com (no attachments) James Diener, CEO/President AMATHUS MUSIC P.O. Box 95 Hewlett, NY 11557 E-mail: firstname.lastname@example.org Web: www.amathusmusic.com, www.myspace.com/amathusmusic Styles/Specialties: DanceMusic/Electronic/Pop Chris Panaghi, A&R AMERICAN EAGLE RECORDINGS 13001 Dieterle Ln. St. Louis, MO 63127 888-521-8146, 314-965-5648 E-mail: email@example.com Web: www.americaneaglerecordings.com Styles/Specialties: Country AMERICAN LAUNDROMAT RECORDS P.O. Box 85 Mystic, CT 06355 860-460-8903 Fax 860-245-3669 E-mail:firstname.lastname@example.org Web: www.alr-music.com Styles/Specialties: indie rock, tribute compilations *We do not accept unsolicited materials Joseph H. Spadaro, Founder & President AMERICAN RECORDINGS (Republic Records/Universal) 9830 Wilshire Blvd. Beverly Hills, CA 90212-1804 310-272-2100 E-mail: email@example.com, firstname.lastname@example.org Web: www.americanrecordings.com Styles/Specialties: all genres *No unsolicited material Rick Rubin, President Dino Paredes, Vice President A&R Antony Bland, Director A&R Richard Csabai, A&R Rod Kukla, Sr. VP A&R ANTI2798 Sunset Blvd. Los Angeles, CA 90026 213-355-5000 E-mail: email@example.com Web: www.anti.com Styles/Specialties: indie rock Brett Gurewitz, A&R Andy Kaulkin, President API RECORDS P.O. Box 7041 Watchung, NJ 07069 E-mail: Apirecords@verizon.net Web: www.apirecords.com Styles/Specialties: Classical, Pop-Rock APPLESEED RECORDINGS P.O. Box 2593 West Chester, PA 19380 610-701-5755 E-mail: firstname.lastname@example.org Web: www.appleseedmusic.com Styles/Specialties: AC ARISTA NASHVILLE (See Sony Music Nashville) ASTRALWERKS A&R Department 150 5th Ave. New York, NY 10011 E-mail: email@example.com, firstname.lastname@example.org Web: www.astralwerks.com Styles/Specialties: electronic, dance, alternative, techno *No Unsolicited material accepted. Glenn Mendlinger, GM ATLANTIC RECORDS (parent company Warner Bros. Records) 3400 W. Olive Ave., 2nd Fl. Burbank, CA 91505 818-238-6800 E-mail: email@example.com Web: www.atlanticrecords.com *No unsolicited material Michael Caren, President, A&R Sam Riback, Sr. VP A&R Shawn Barron, Sr. Director, Urban Aaron Bay-Schuck, Sr. V.P., Urban Chris Morris, A&R ATLANTIC RECORDS GROUP 1290 Ave. of the Americas New York, NY 10104 212-707-2000 E-mail: firstname.lastname@example.org, email@example.com Web: www.atlanticrecords.com *No unsolicited material Craig Kallman, Chairman/CEO Julie Greenwald, Chairman/COO Pete Ganbarg, Head of A&R Michael Kyser, President, Black Music Darrale Jones, VP A&R, Urban Zvi Edelman, VP A&R Jeff Levin, Director A&R ATO RECORDS 44 Wall St. 23rd New York, NY 10005 E-mail: firstname.lastname@example.org Web: www.atorecords.com Styles/Specialties: All Genres: pop, rock, acoustic rock, indie *Demo Submissions will only be accepted by mail Will Botwin, President/CEO AUTHENTIK ARTISTS 714-321-1471 Web: www.authentikartists.com E-mail: Bob@authentikartists.com Scott Austin, CEO/Creative Director Bob Bradley, VP Arist Relations AWARE RECORDS 1316 Sherman Ave., #215 Evanston, IL 60201-4419 847-424-2000 E-mail: email@example.com Web: www.awarerecords.com Styles/Specialties: Rock *No unsolicited material Steve Smith, VP A&R BA DA BING! RECORDS 181 Clermont Ave., Apt. 403 00:02:59 LLC PO Box 1251 Culver City, CA 90232 718-636-0259 Web: www.259records.com E-mail: firstname.lastname@example.org 1-2-3-4 GO! RECORDS 420 40th St., Ste. #5 Oakland, CA 94609 510-985-0325 E-mail: email@example.com Web: www.1234gorecords.com Styles/Specialties: rock, punk 4AD RECORDS 2035 Hyperion Ave. Los Angeles, CA 90027 E-mail: 4AD@4AD.com Web: www.4ad.com Roster: The National, Blonde Redhead, Deerhunter, Efterklang, St. Vincent, Bon Iver, The Big Pink, Camera Obscura. Styles/Specialties: rock/indie Additional locations: 304 Hudson St. New York, NY 10013 17-19 Alma Road, SW18 1AA, UK 18TH & VINE RECORDS ALLEGRO MEDIA GROUP 20048 N.E. San Rafael St. Portland, OR 97230 503-491-8480 Web: www.allegro-music.com Styles/Specialties: jazz, bebop, soul-jazz 21ST CENTURY STUDIO Silver Lake, CA 323-661-3130 E-mail: firstname.lastname@example.org Web: www.21stcenturystudio.com Styles/Specialties: rock, folk, ethnic, acoustic groups, books on tape, actor voice presentations Burt Levine, A&R A389 RECORDINGS P.O. Box 12058 Baltimore, MD 21281 E-mail: email@example.com Web: www.a389records.com Styles/Specialties: hard rock, metal AARON RECORDS P.O. Box 428 Portland, TN 37148 615-325-3340 E-mail: firstname.lastname@example.org Web: www.aaronrecords.com Jim Case, A&R ABET MUSIC 411 E. Huntington Dr., Ste. 107-372 Arcadia, CA 91006 866-574-0275 Web: www.abetmusic.com Styles/Specialties: electronica, acoustic, ambient, chill, rock, alternative, world and classical ABSOLUTE RECORDS P.O. Box 681853 Franklin, TN 37068 E-mail: email@example.com Web: www.absoluterecords.com Styles/Specialties: All styles ACCIDENTAL MUZIK, INC. 1312 N. Ave. 45 56 January 2013 www.musicconnection.com Download This Directory From Our Website Brooklyn, NY 11205 718-360-5561 E-mail: firstname.lastname@example.org Web: www.badabingrecords.com Styles/Specialties: Really weird stuff that can still make you cry BAD BOY RECORDS subsidiary of Warner Music Group Bad Boy World Entertainment Group 1710 Broadway, 6th Fl. New York, NY 10019 E-mail: email@example.com, firstname.lastname@example.org Web: www.facebook.com/badboyrecords *No unsolicited material Sean Combs, CEO Harve Pierre, President Hughes Skid Felizor, A&R Gwen Niles, VP A&R Admin BAR-NONE RECORDS P.O. Box 1704 Hoboken, NJ 07030 201-770-9090 E-mail: email@example.com Web: www.bar-none.com Styles/Specialties: indie rock *Unsolicited material accepted Glenn Morrow, Owner Emmy Black, A&R Mark Lipsitz, GM BARSUK RECORDS P.O. Box 22546 Seattle, WA 98122 E-mail: firstname.lastname@example.org Web: www.barsuk.com Distribution: ADA/WEA Styles/Specialties: Indie Rock *No unsolicited material Josh Rosenfeld, President BEGGARS GROUP (Also XL Recordings, Beggars Banquet, 4AD, Matador, Rough Trade, Young Turks) 304 Hudson St. 7th Fl. New York, NY, 10013-1012 212-995-5882 Fax 212-995-5883 E-mail: email@example.com Web: www.beggarsgroupusa.com Styles/Specialties: indie-rock, pop, electronic and many more Roster: Badly Drawn Boy, Tindersticks, Mojave 3, the National, Electrelane, Peaches, Natacha Atlas and more Distribution: ADA Additional location: 2035 Hyperion Ave. Los Angeles, CA 90027 213-341-4823 BIELER BROS. RECORDS 4100 N. Powerline Rd. #U5 Pompano Beach, FL 33073 954-979-4781 Fax 954-979-9709 E-mail: firstname.lastname@example.org Web: www.bielerbros.com Styles/Specialties: hard rock, metal *Accepts unsolicited material Jason Bieler, Owner Aaron Bieler, Owner BIG DEAL RECORDS 4658 Wortser Ave. Sherman Oaks, CA 91423 818-789-4483 Web: www.myspace.com/bdrecords Styles/Specialties: rock, pop, AC Distribution: Ryko *No unsolicited material Henry Marx, President/CEO Bill Dern, GM/Head of Business Affairs BIG NOISE 11 S. Angell St., Ste. 336 Providence, RI 02906 401-274-4770 E-mail: email@example.com Web: www.bignoisenow.com Styles/Specialties: artists have included Christina Aguilera, Katharine McPhee, Jim Brickman, Paul Doucette (Matchbox 20), Little Anthony & the Imperials, Bela Fleck, Patti Rothberg *Currently accepting demo submissions. Please call or e-mail rst. Al Gomes, A&R BLACKHEART RECORDS 636 Broadway New York, NY 10012 212-353-9600 Fax 212-353-8300 E-mail: firstname.lastname@example.org Web: www.blackheart.com Styles/Specialties: all styles *Unsolicited material accepted, attn: A&R Dept. Zander Wolff, A&R BLIND PIG RECORDS P.O. Box 2344 San Francisco, CA 94126 415-550-6484 Fax 415-550-6485 E-mail: email@example.com Web: www.blindpigrecords.com Styles/Specialties: blues Ed Chmelewski, A&R BLOODSHOT RECORDS 3039 W. Irving Park Rd. Chicago, IL 60618 773-604-5300 E-mail: firstname.lastname@example.org Web: www.bloodshotrecords.com Styles/Specialties: punk, country, soul, pop, bluegrass, blues and rock Rob Miller, Owner Nan Warshaw, Owner BLUE LADY RECORDS 5042 Wilshire Blvd., Ste. 537 Los Angeles, CA 90036 323-296-2272 E-mail: email@example.com Styles/Specialties: blues, jazz Roster: Barbara Morrison, Thurman Green, Buster Cooper, Al McKibbon, Phil Wright, Tommy Gryce Barbara Morrison, A&R BLUE NOTE (EMI) 150 5th Ave., 6th Fl. New York, NY 10011 212-786-8600 Fax 212-786-8666 E-mail: firstname.lastname@example.org Web: www.bluenote.com Styles/Specialties: jazz/pop Ian Ral ni, President BNA RECORDS (SONY MUSIC) 1400 18th Ave. St. Nashville, TN 37212 615-301-4300 Fax 615-301-4347 E-mail: email@example.com Web: www.bnarecords.com Styles/Specialties: Country *no unsolicited material Jim Catino, Sr. Director A&R BOMP/ALIVE NATURALSOUND RECORDS 919 Isabel, Unit G Burbank, CA 91506 E-mail: firstname.lastname@example.org Web: www.bomp.com, www.alive-totalenergy.com Roster: the Black Keys, Two Gallants, Buffalo Killers, Brian Jonestown Massacre and more Distribution: Lumberjack Mordam Music Grp. *Unsolicited material accepted. Do not contact us, we will contact you if we dig what we hear! Patrick Boissel, A&R BURNSIDE RECORDS 20048 N.E. San Rafael St. Portland, OR 97203 800-288-2007 ext 2049 E-mail: email@example.com Web: www.burnsiderecords.com Styles/Specialties: blues, Americana, folk CAPITOL MUSIC GROUP (EMI parent company) 1750 N. Vine St., 9th Fl. Hollywood, CA 90028 323-462 6252 Web: www.capitolrecords.com *No unsolicited material Alex Luke, Exec VP A&R Michael Howe, VP A&R Steve Prudholme, Director A&R Kim Stephens, A&R CAPITOL MUSIC GROUP - NEW YORK (EMI parent company) 150 5th Ave., 3rd Fl. New York, NY 10011 212-786-8200 Web: www.capitolrecords.com *No unsolicited material Dan McCarroll, President Alex Shenitsky, Director A&R Ronette Bowi, Dir. A&R Admin. Mollie Moore, A&R CAPITOL RECORDS NASHVILLE (EMI parent company) 3322 W. End Ave., 11th Fl. Nashville, TN 37203 615-269-2000 E-mail: firstname.lastname@example.org www.musicconnection.com/amp Web: www.capitolrecords.com Autumn House, VP A&R Melissa Spillman, Manager A&R Betsy Morley, Sr. Dir. A&R Admin. CASTLE RECORDS 19 Music Sq. W., Ste. U-V-W Button Floor Rear of Building Nashville TN 37203 615-401-7111 615-942-5408 E-mail: EdRussell@castlerecords.com Web: www.castlerecords.com Styles/Specialties: Country *We accept unsolicited material. See website for demo submission Ed Russell, President Debbie Wallin, Dir. of Publishing Joe Khoury, A&R Ben Wright, A&R CENTURY MEDIA RECORDS 2323 W. El Segundo Blvd. Hawthorne, CA 90250 323-418-1400 Fax 323-418-0118 E-mail: email@example.com Web: www.centurymedia.com Styles/Specialties: heavy metal, hard rock *Unsolicited material accepted, see web for details. Paul Gorgano, A&R CEXTON RECORDS P.O. Box 80187 Rancho Santa Margarita, CA 92688 917-570-6664 Offices in CA and NYC E-mail: firstname.lastname@example.org Web: www.cexton.com, www.johnanello.com Styles/Specialties: jazz, big band, swing and Italian-American artists Distribution: Indie, point of purchase, Internet, specialty stores John Anello, Jr., A&R CHASE MUSIC GROUP P.O. Box 11178 Glendale, CA 91226 818-507-4240 Fax 818-230-9876 E-mail: email@example.com Contact: Bill Stil eld Styles/Specialties: jazz Distribution: City Hall Records, Traditions Alive *No unsolicited material CHERRYTREE RECORDS (Interscope) 2220 Colorado Ave. Santa Monica, CA 90404 310 865-1000 E-mail: firstname.lastname@example.org Web: www.cherrytreerecords.com, www.cherrytreedom.com Styles/Specialties: All genre styles considered Roster: Feist, Ellie Goulding, Sting, LMFAO, Robyn, Far East Movement, La Roux, Michael Kiwanuka, Deap Vally, Jessie Ware, Colette Carr, Willy Moon, Natalia Kills, Marianas Trench, Matthew Koma, Tokio Hotel, Nero Martin Kierszenbaum, Chairman Andrea Ruffalo, GM Scott Enright, A&R Kelvin Chu, A&R Ben Gordon, A&R Jody Klein, A&R CLEOPATRA RECORDS 11041 Santa Monica Blvd., PMB 703 Los Angeles, CA 90025 310-477-4000 Web: www.cleopatrarecords.com Styles/Specialties: gothic, rock, metal, rap, R&B, dance, classics, soundtracks Brian Perera, President Tim Yasul, VP/GM CLICKPOP RECORDS P.O. Box 5765 Bellingham, WA 98227 E-mail: email@example.com Web: www.clickpoprecords.com Styles/Specialties: folk, metal, pop, punk, electronic, ambient noise and more Dave Richards, A&R CLUBSTREAM LABEL GROUP Gothenburg Sweden +46-(0) 708 579 753 E-mail: firstname.lastname@example.org Web: www.clubstream.se Style/Specialties: techno, all types of electronic dance music *Accepts unsolicited material. Do not send rock music, reggae or psy-trance. See website for instructions Hakan Ludvigson, A&R Manager CMH RECORDS 2898 Rowena Ave. Los Angeles, CA 90039 323-663-8073 Web: www.cmhrecords.com Styles/Specialties: country, bluegrass, electric, children’s, Christmas COAST RECORDS 2530 Atlantic Ave., Ste. C Long Beach, CA 90806 310-325-2800 E-mail: email@example.com Web: www.logginspromotion.com, www.myspace.com/paulloggins Styles/Specialties: all styles *Accepts unsolicited material Paul Loggins, A&R COLUMBIA RECORDS - LOS ANGELES (parent company Sony Music) 9830 Wilshire Blvd. Beverly Hills, CA 90212 310-272-2783 E-mail: firstname.lastname@example.org Web: www.columbiarecords.com *No unsolicited material Ashley Newton, Pres. A&R Mark Williams, VP A&R Maria Egan, Dir. A&R JR Lindsey, Dir. A&R COLUMBIA RECORDS - NEW YORK 550 Madison Ave., 24th Fl. New York, NY 10022 E-mail: email@example.com Web: www.columbiarecords.com *No unsolicited material John Doelp, Sr. V.P., A&R Operations Haley Wetheimer, A&R Manager COMPASS RECORDS 916 19th Ave. S. Nashville, TN 37212 615-320-7672 800-757-2277 E-mail: firstname.lastname@example.org Web: www.compassrecords.com Styles/Specialties: celtic, roots Alison Brown, A&R Gary West, A&R CONCORD MUSIC GROUP 100 N. Crescent Dr. Beverly Hills, CA 90210 310-385-4455 E-mail: email@example.com Web: www.concordmusicgroup.com Styles/Specialties: jazz John Burk, Executive VP, A&R Nick Phillips, VP, Jazz & Catalog A&R Chris Dunn, Senior Director, A&R Joe McEwen, Vice President, A&R CRANK! A RECORD COMPANY 1223 Wilshire Blvd., Ste. 823 Santa Monica, CA 90403 E-mail: firstname.lastname@example.org Web: www.crankthis.com Styles/Specialties: “melodic-indie hard-pop-rock” Distribution: Nail *Not accepting any new demos at this point Jeff Matlow, A&R CURB RECORDS 48 Music Sq. E. Nashville, TN 37203 615-321-5080 Fax 615-327-1964 E-mail: email@example.com Web: www.curb.com Styles/Specialties: country, pop, gospel *No unsolicited material John Ozier, VP & A&R Bryan Stewart, VP A&R DANGERBIRD RECORDS 3801 Sunset Blvd. Los Angeles, CA 90026 323-665-1144 E-mail: firstname.lastname@example.org Web: www.dangerbirdrecords.com Roster: Silversun Pickups, Sea Wolf, Darker My Love, the One AM Radio, Eulogies *We do not accept unsolicited demos Jenny Sperandeo, GM Peter Walker, Pres. DECAYDANCE MUSIC Tampa, FL 33601 E-mail: email@example.com Web: www.decaydance.com See website about demo submission DEEP ELM RECORDS 210 N. Church St., Ste. 2502 January 2013 www.musicconnection.com 57 Download This Directory From Our Website www.musicconnection.com/amp www.musicconnection.com/amp Web: www.elektra.com Michael Caren, President, A&R EMI CHRISTIAN MUSIC GROUP (CMG) 101 Winners Cir. Brentwood, TN 27027 615-371-4400 Web: www.emicmgpublishing.com *No unsolicited material EMI MUSIC GROUP (SONY BMG) 150 5th Ave. New York, NY 10011 212-786-8000 Web: www.emigroup.com *No unsolicited material Additional locations: 104 W. 29th St. New York, NY 212-886-7500 1750 Vine St. Los Angeles, CA 90028 323-462-6251 EMPEROR JONES RECORDS P.O. Box 4730 Austin, TX 78765 E-mail: firstname.lastname@example.org Web: www.emperorjones.com Styles/Specialties: folk, indie, alt. EPIC RECORDS 9830 Wilshire Blvd. Beverly Hills, CA 90212 Web: www.epicrecords.com, www.sonymusic.com/labels *No unsolicited material Mike Flynn, Sr. Dir. A&R EPIC RECORDS GROUP 550 Madison Ave. 22nd Fl. New York, NY 10022 212-833-8000 Web: www.epicrecords.com *No unsolicited material Farra Matthews, VP A&R Additional location: 9830 Wilshire Blvd. Beverly Hills, CA 90212 Jim Edmunds, A&R EPITAPH /ASYLYM (WMG) 2798 Sunset Blvd. Los Angeles, CA 90026 213-413-7353 E-mail: email@example.com Web: www.epitaph.com Styles/Specialties: alternative rock, post-hardcore, punk rock, hip hop, metalcore *Accepts unsolicited material. See website for instructions Brett Gurewitz, Owner EQUAL VISION P.O. Box 38202 Albany, NY 12203-8202 E-mail: firstname.lastname@example.org Web: www.equalvision.com Steve Reddy, President Dan Sandshaw, GM/A&R EVENFLOW RECORDS P.O. Box 9175 Marietta, GA 30065-2175 404-617-9285 E-mail: eliwatts@even owrecords.com Web: www.even owrecords.com *Accepts unsolicited material Eli Watts, CEO & Founder FANTASY RECORDS 100 N. Crescent Dr., Ste. 275 Beverly Hills, CA 90210 310-385-4455 E-mail: email@example.com Web: www.concordmusicgroup.com *No unsolicited material Rob Saslow, VP A&R Development FAT POSSUM RECORDS P.O. Box 1923 Oxford, MS 38655 662-234-2828 Fax 662-234-2899 E-mail: firstname.lastname@example.org Web: www.fatpossum.com Styles/Specialties: indie *Accepts unsolicited material Matthew Johnson, President FAT WRECK CHORDS 2196 Palou Ave. San Francisco, CA 94124 You’rE a musician. Your languagE is music. BBE is Your EssEntial tool! Charlotte, NC 28202 702-502-6599 E-mail: email@example.com Web: www.deepelm.com Styles/Specialties: indie rock, emo, emotronic, punk, pop, atmospheric, slowcore, alt-country, instrumental John Szuch, A&R DEEP SOUTH ENTERTAINMENT P.O. Box 17737 Raleigh, NC 27619 919-844-1515 E-mail: firstname.lastname@example.org Web: www.deepsouthentertainment.com Styles/Specialties: rock See website for demo submission policy Andy Martin, Co-owner Dave Rose, Co-owner DELICIOUS VINYL RECORDS 6607 Sunset Blvd. Los Angeles, CA 90028 323-465-2700 Fax 323-465-8926 E-mail: email@example.com Web: www.deliciousvinyl.com *No unsolicited material Michael Ross, A&R/Owner Rick Ross, A&R DELMARK RECORDS 4121 N. Rockwell Chicago, IL 60618 773-539-5001 Fax 773-539-5004 E-mail: firstname.lastname@example.org Web: www.delmark.com Styles/Specialties: blues and jazz Bob Koester, Sr., A&R Steve Wagner, A&R DISCHORD RECORDS 3819 Beecher St. N.W. Washington, DC 20007 703-351-7507 E-mail: email@example.com Web: dischord.com Styles/Specialties: punk rock DOMO MUSIC GROUP 11340 W. Olympic Blvd., Ste. 270 Los Angeles, 90064 800-899-1000, 310-966-4414 Web: www.domomusicgroup.com Styles/Specialties: new age, world music, rock, soundtrack, ambient, electronic Elichi Naito, CEO/President Dino Malito, VP D’MAR ENTERTAINMENT, INC. 7723 Tylers Place Blvd., Ste. 275 West Chester, OH 45069 513-617-2392 E-mail: firstname.lastname@example.org Web: www.dmarentertainment.com Styles/Specialities: smooth jazz, R&B, gospel *Accepts unsolicited material Sheila A. Jordan, A&R DRAG CITY RECORDS P. O. Box 476867 Chicago, IL 60647 312-455-1015 Fax 312-455-1057 E-mail: email@example.com Web: www.dragcity.com Styles/Specialties: rock, hard rock, experimental DUAL TONE RECORDS 203 N 11th St., Ste. B Nashville, TN 37206 615-320-0620 Fax 615-320-0692 E-mail: firstname.lastname@example.org Web: www.dualtone.com Styles/Specialties: country, rock E1 MUSIC GROUP 22 Harbor Park Dr. Port Washington, NY 11050 516-484-1000 Alan Grunblatt, President E-mail: email@example.com Web: www.eonemusic.com EARTH MUSIC PRODUCTIONS, LLC P.O. Box 72 Litch eld, CT 06759 860-567 8796 E-mail: firstname.lastname@example.org Web: www.livingmusic.com Styles/Specialties: new age ELEKTRA (Atlantic Records) 3400 West Olive Ave. Burbank, CA 91505 323-466-0103 E-mail: email@example.com You speak through your instruments and your songs. No ordinary words can convey all the complexities, the joy, the pain, the ideals and the dreams. Only your music can do that. But how does the music you hear in your head fight its way through a morass of electronics to reach the ears of your audience without losing some of your meaning? BBE is thE answEr! BBE will become your indispensable companion in the recording studio, the radio station, the club and concert stage. BBE will reveal the richness of your texture, the nuances, the subtleties, the inner meanings in your music. Your artistic presence will be more vivid, the colors in your sound more vibrant. The crystalline clarity of your music will be triumphantly unveiled! www.bbesound.com (800) 233-8346 · (714) 897-6766 58 January 2013 www.musicconnection.com Download This Directory From Our Website Punch it up! Introducing the Cerwin-Vega! P-Series! Meet the P1800SX subwoofer and experience legendary Cerwin Vega! Bass. n n n n www.musicconnection.com/amp The powerful, portable speaker system that combines rugged construction, extreme clarity and unmatched bass performance in an easy-to-use package. 2000 watts of built-in Class D ampliﬁcation 18 inch woofer for a level of deep low end response you need to hear Frequency shaping controls, high-pass ﬁlter Vega Bass boost Use it with the Cerwin-Vega! P1500X (see below) or your current rig and ﬁnally get that deep, deep bass you are currently missing. Power it up! Meet the P1500X, a two-way, bi-amped, full-range bass-reﬂex speaker with the most power in its class. n n n n n n n n full page gibson pro audio 1500 watts of built-in Class D ampliﬁcation Lightweight, portable polymer cabinet Proprietary hemi-conical horn for even venue coverage Frequency shaping controls, high-pass ﬁlter Vega Bass boost Built-in mixer with multiple I/O connections for easy set-up Adjustable pole mount and threaded hang points support permanent and portable use Use it alone, in pairs, as a ﬂoor monitor or with the P1800XS For more information go to www.cerwinvega.com. www.cerwinvega.com ©2012 Cerwin-Vega! All rights reserved. January 2013 www.musicconnection.com 59 Download This Directory From Our Website Web: www.fatwreck.com Styles/Specialties: punk *Send demos to: Asian Man Records ATTN: Mike, PO Box 35585, Monte Soreno, CA 95030 FAVORED NATIONS RECORDS Hollywood, CA 90078 Web: www.favorednations.com Styles/Specialties: all styles welcome FEARLESS RECORDS 16400 Paci c Coast Highway #204 Huntington Beach, CA 92683 562-592-3438 E-mail: firstname.lastname@example.org Web: www.fearlessrecords.com Styles/Specialties: pop punk, punk rock, emo, alternative rock, post-hardcore *Accepts unsolicited material. See website for mailing instructions Bob Becker, President/A&R FERRET MUSIC 61 Highstown Rd. West Windsor, NJ 08550 609-799-2424 E-mail: email@example.com Web: www.ferretstyle.com FERVOR RECORDS 1810 W. Northern Ave., Ste. A-9 Box 186 Phoenix, AZ 85021 602-595-3582 Fax 602-595-3590 E-mail: firstname.lastname@example.org Web: www.fervor-records.com Styles/Specialties: vintage, new indie Jeff Freundlich, President FONOVISA 8200 N.W. 52nd Terr., 2nd Fl. Miami, FL 33166 Web: www.universalmusica.com/fonovisa *Accepts unsolicited material FOODCHAIN RECORDS 6464 Sunset Blvd., Ste. 920 Hollywood, CA 90028 323-957-7900 Fax 323-957-7911 E-mail: email@example.com Web: www.foodchainrecords.com Roster: Supagroup, Minibar, Coyote Shivers, Betty Blowtorch, Dear John Letters, and more Style/Specialties: hard rock, punk *Please submit demos by mail only Scott Milano, Owner Kelly Spencer, VP A&R FRONTIER RECORDS P.O. Box 22 Sun Valley, CA 91353 818-759-8279 E-mail: firstname.lastname@example.org Web: www.frontierrecords.com Styles/Specialties: hardcore punk, OC punk, punk-pop, alternative rock *No unsolicited material. FUELED BY RAMEN 1290 Ave of the Americas, 28th Fl. New York, NY 10104 Web: www.fueledbyramen Mike Easterlin, GM GEARHEAD RECORDS P.O. Box 2234 Elk Grove, CA 95759 530-750-7900 E-mail: email@example.com Web: www.gearheadrecords.com Styles/Specialties: rock n’ roll, outlaw country, punk, garage, rockabilly and sleaze metal Michelle Haunold, Pres. *No unsolicited material GEFFEN See Interscope GLASSNOTE RECORDS 770 Lexington Ave., 12th Fl. New York, NY 10065 646-214-6000 Fax 646-237-2711 E-mail: firstname.lastname@example.org Web: www.glassnotemusic.com Daniel Glass, President GLASSNOTE RECORDS - L.A. 9830 Wilshire Blvd. Beverly Hills, CA 90212 310-272-2412 Web: www.glassnotemusic.com Marc Nicolas, A&R GLOBAL CREATIVE GROUP 4757 E. Greenway Rd., Ste. 107B-PMB180 Phoenix, AZ 85032 800-884-4553 E-mail: email@example.com Web: www.gcgmusic.com Styles/Specialties: pop, rock, world Distribution: Redeye *Accepts unsolicited material Ian Faith, CEO GOGIRLSMUSIC.COM P.O. Box 2628 Bellaire, TX 77402 E-mail: firstname.lastname@example.org Web: www.gogirlsmusic.com Styles/Specialties: all genres *The oldest and largest online community of indie women in music Madalyn Sklar, A&R GO-KUSTOM REKORDS P.O. Box 77750 Seattle, WA 98177 E-mail: email@example.com Web: www.go-kustom.com Styles/Specialties: surf, psychobilly, hot rod, lo- , post-punk, electronica D.A. Sebasstian, A&R GREEN LINNET 916 19th Ave. S. Nashville, TN 37212 800-757-2277, 615-320-7672 Fax 615-320-7378 E-mail: firstname.lastname@example.org Web: www.greenlinnet.com Styles/Specialties: celtic, world music Garry West, A&R HACIENDA RECORDS 1236 S. Staple Corpus Christi, TX 78404 361-882-7066 E-mail: email@example.com Web: www.haciendarecords.com Styles/Specialties: Mexicana, Ranchito, gospel HEADLINER RECORDS 102 N.E. 2nd St. Boca Raton, FL 33432 E-mail: firstname.lastname@example.org Web: www.headlinerrecords.com Styles/Specialties: pop, pop alternative, R&B, always looking for new opportunities and great singers and writers *Unsolicited material welcome George Tobin, owner www.musicconnection.com/amp Ben Gordon, A&R Jeff Sosnow, A&R INVISIBLE RECORDS 3319 South Lituanica Ave. Chicago, IL 60608 773-523-8316 E-mail: email@example.com Web: www.invisiblerecords.com, www. facebook.com/invisibleRecords Styles/Specialties: goth, metal, rock IPECAC RECORDINGS E-mail: firstname.lastname@example.org Web: www.ipecac.com Distribution: Fontana Roster: Fantomas, Melvins Big Band, Northern State, Dalek, Skeleton Key, Peeping Tom, Dub Trio Greg Werckman, A&R IRONWORKS MUSIC 18653 Ventura Blvd. #724 Ventura, CA 91356 E-mail: email@example.com Web: www.ironworksmusic.com Styles/Specialties: a full facility entertainment company Jenn Johnson, A&R *No unsolicited material ISLAND DEF JAM MUSIC GROUP LOS ANGELES - UMG 2220 Colorado Ave., 5th Fl. Santa Monica, CA 90404 310-865-5000 Web: www.islandrecords.com *No unsolicited material Chris Anokute, Senior VP of A&R ISLAND DEF JAM MUSIC GROUP NEW YORK - UMG 825 8th Ave., 29th Fl. New York, NY 10019 212-333-8000 Fax 212-603-7654 E-mail: firstname.lastname@example.org Web: www.islanddefjam.com Styles/Specialties: hip hop, rap, urban, R&B *No unsolicited material Steve Bartels, President Karen Kwak, Sr. VP of A&R JAGGO RECORDS, LLC 10061 Riverside Dr., Ste. 718 Toluca Lake, CA 91602 323-850-1819 E-mail: email@example.com Web: www.jaggo.com Styles/Specialties: pop, rock, jazz, R&B, hip-hop, soul, World music *Unsolicited material accepted JAZZ & CLASSICS EMI RECORDS Blue Note, Narada Jazz, Metro Blue 150 5th Ave. 6th Fl. New York, NY 10011 E-mail: firstname.lastname@example.org Web: www.bluenote.com, www.angelrecords. com, www.manhattanrecords.com Bruce Lundvall, President/CEO, Blue Note Eli Wolf, VP A&R Blue Note J CURVE RECORDS P.O. Box 43209 Cincinnati, OH 45243 513-272-8004 E-mail: email@example.com HOLLYWOOD RECORDS – LOS ANGELES 500 S. Buena Vista St., Old Team Bldg. Burbank, CA 91521 818-560-7084 Fax 818-841-5140 E-mail: firstname.lastname@example.org Web: www.hollywoodrecords.com *No unsolicited material, No MP3s Geoffrey Weiss, Sr. VP A&R Jon Lind, Sr. VP A&R Additional location: 825 8th Ave., 30th Fl. New York, NY 10019 212-445-3309 HOLOGRAPHIC RECORDS 700 W. Pete Rose Way Lobby B, 3rd Fl., Ste. 390 PMB 18 Cincinnati, OH 45203 513-442-3886 E-mail: email@example.com Web: www.holographicrecords.com Styles/Specialties: fusion, jazz Brandon Wheeler, A&R HOPELESS/SUB CITY P.O. Box 7495 Van Nuys, CA 91409 E-mail: firstname.lastname@example.org Web: www.hopelessrecords.com Louis Posen, Owner HYDRAHEAD RECORDS P.O. Box 291430 Los Angeles, CA 90029 E-mail: email@example.com Web: www.hydrahead.com/v3 Styles/Specialties: hard rock, metal, experimental *No unsolicited material. IAMSOUND RECORDS 183 N. Martel Ave., Ste. 270 Los Angeles, CA 90036 E-mail: firstname.lastname@example.org Web: www.iamsoundrecords.com Roster: Bleeding Knees Club, The Black Ghosts, Charli XCX, Florence and The Machine Contact: Niki Roberton, Founder Styles/Specialties: indie rock, electro ICEHOUSE RECORDS Memphis, TN 38133 800-346-0723 E-mail: email@example.com Web: www.icehouserecords.com Styles/Specialties: roots, jazz, blues INO RECORDS 210 Jamestown Pkwy., Ste. 100 Brentwood, TN 37027 E-mail: firstname.lastname@example.org Web: http://www.inorecords.com/v2/contact.php Styles/Specialties: Christian *Accepts unsolicited material. See website for submission INTERSCOPE-GEFFEN-A&M-UMG 2220 Colorado Ave., 5th Fl. Santa Monica, CA 90404 310-865-1000 E-mail: email@example.com Web: www.interscoperecords.com *No unsolicited material Post a free ad seeking musicians Find jobs with working bands Thousands have used us since 1969! Mu 60 January 2013 www.musicconnection.com sic 8 81 s n ia - n o C - t c ta 9 d ar w er Ho wn ng O rli er/ Ste und Fo m o .c 8 88 7 78 Download This Directory From Our Website E-mail: firstname.lastname@example.org Web: www.pandisc.com, www.streetbeatrecords.com *Unsolicited material accepted STONES THROW RECORDS, LLC 2658 Griffith Park Blvd., #504 Los Angeles, CA 90039 E-mail: email@example.com Web: www.stonesthrow.com *Accepts unsolicited material, no MP3’s SUB POP RECORDS 2013 4th Ave., 3rd Fl. Seattle, WA, 98121 206-441-8441 E-mail: firstname.lastname@example.org Web: www.subpop.com *Accepts unsolicited materials Tony Kiewel, Head of A&R Stuart Meyer, A&R Richard Laing, A&R SURFDOG RECORDS 1126 South Coast Hwy. 101 Encinitas, CA 92024 760-944-8000 Fax 760-944-7808 E-mail: email@example.com Web: www.surfdog.com Styles/Specialties: rock Roster: Brian Setzer, Stray Cats, Richard Cheese, Gary Hoey, Rusty Anderson, Slightly Stoopid, Dan Hicks, Butthole Surfers, Gibby Haynes, Dylan Donkin, Dave Stewart, the Wylde Bunch, Burning of Rome *Unsolicited material accepted Scott Seine, A&R SYMPATHY FOR THE RECORD INDUSTRY 120 State Ave., N.E. 134 Olympia, WA 98501 E-mail: firstname.lastname@example.org Web: www.sympathyrecords.com Styles/Specialties: rock, pop, punk TANGENT RECORDS P.O. Box 383 Reynoldsburg, OH 43068-0383 614-751-1962 Fax 614-751-6414 E-mail: email@example.com Web: www.tangentrecords.com Styles/Specialties: contemporary instrumental, rock instrumental, electronic, jazz-rock, world beat Distribution: self-distributed *Unsolicited material accepted Andrew J. Batchelor, President THIN MAN RECORDS P.O. Box 322 Torrance, CA 90507 310-320-8822 E-mail: submissions@thinmanentertainment. com, firstname.lastname@example.org Web: www.thinmanentertainment.com Styles/Specialties: alternative rock, darkwave, deathrock, gothic, industrial, jazz, junk, punk, and psychobilly THUMP RECORDS PO Box 9605 Brea, CA 92822 909-595-2144 E-mail: email@example.com Web: www.thumprecords.com Styles/Specialties: Latin rap, old skool, rap, R&B, Latin, oldies, disco *Unsolicited material accepted TOMMY BOY 902 Broadway New York, NY 10010 212-388-8475 E-mail: firstname.lastname@example.org Web: www.tommyboy.com *Accepts unsolicited material. To submit demos, please e-mail low-bit rate MP3s or links to MsSpace and Facebook to: email@example.com Rosie Lopez, VP A&R TRICOPOLIS RECORDS 33261 Adelfa St. Lake Elsinore, CA 92530 951-678-0831, 951-757-5055 E-mail: firstname.lastname@example.org Web: www.tricopolisrecords.com Contact: Mike Nadolson Styles/Specialties: bluegrass, folk, acoustic *No unsolicited material www.musicconnection.com/amp TRIPLE X RECORDS P.O. Box 862529 Los Angeles, CA 90086-2529 323-221-2204 Fax 323-221-2778 E-mail: email@example.com Styles/Specialties: alt. rock, reissues, goth, rap Distribution: Navarre *Call before sending material Peter Huer, Owner Dean Naleway, A&R U & L RECORDS 1617 Cosmo St., Ste. 411 Los Angeles, CA 90028 E-mail: License@urbandlazar.com Web: www.urbandlazar.com, myspace.com/urbandlazar Styles/Specialities: indie rock, alternative, singer-songwriter *Accepts Unsolicited Material UNIVERSAL MOTOWN REPUBLIC 1755 Broadway, 8th Fl. New York, NY 10019 212-333-8000 Web: www.umrg.com *No unsolicited material Tom Mackay, Exec. VP A&R UNIVERSAL MUSIC GROUP 2220 Colorado Ave., 3rd Fl. Santa Monica, CA 90404 310-865-0809 Web: www.universalmusic.com UNIVERSAL MUSIC GROUP - NASHVILLE 401 Commerce St., Ste. 1100 Nashville, TN 37219 615-244-8944 E-mail: firstname.lastname@example.org Web: www.umgnashville.com *No unsolicited material Brian Wright, VP A&R VAGRANT RECORDS 2118 Wilshire Blvd., Ste. 361 Santa Monica, CA 90403 323-302-0100 E-mail: email@example.com, firstname.lastname@example.org Web: www.vagrant.com Styles/Specialities: rock, indie, experimental Roster: City and Colour, Dashboard Confessional, the Eels, Face to Face *Accepts unsolicited material by mail Jon Cohen, President Dan Gill, GM VANGUARD RECORDS 2700 Pennsylvania Ave., Ste. 1100 Santa Monica, CA 90404 310-829-9355 Fax 310-315-9996 E-mail: email@example.com Web: www.vanguardrecords.com Syles/Specialties: jazz, folk music *No unsolicited material Gary Paczosa, VP A&R Bill Bentley, A&R Director VAN RICHTER RECORDS 440 South El Cielo Rd. Ste. 3-219 Palm Springs, CA 92262 858-731-2995 E-mail: firstname.lastname@example.org Web: www.vanrichter.net Styles/Specialties: industrial, gothic, metal Paul Abramson, A&R *Accepts unsolicited material VAPOR RECORDS 1460 4th St. #300 Santa Monica, CA 90401 310-393-8442 Fax 310-393-6512 E-mail: email@example.com Web: www.vaporrecords.com Styles/Specialties: indie, rock *Accepts unsolicited material VERVE MUSIC GROUP-UMG 1755 Broadway 3rd. Fl. New York, NY 10019 212-331-2000 Fax 212-331-2005 E-mail: firstname.lastname@example.org Web: www.vervemusicgroup.com Styles/Specialties: jazz, adult contemporary, classical *No unsolicited material DO YOU WANT TO BE ON THE 1st PAGE OF WE’LL MAKE YOU A ROCKSTAR ON GOOGLE ? We’ll SHOW you how to get there for $249 FREE for Readers 951-777-2508 www.localmarkeƟngauthority.com FREE WEBSITE TRAFFIC ANALYSIS MenƟon “MUSIC CONNECTION” SCAN OR CALL 64 January 2013 www.musicconnection.com Download This Directory From Our Website Web: www.jcurverecords.com Styles/Specialties: jazz, Latin, blues K RECORDS P.O. Box 7154 Olympia, WA 98507 360-786-1594 E-mail: email@example.com Web: www.krecs.com Roster: Kimya Dawson, the Curious Mystery, the Blackouts Calvin Johnson, Owner KEMADO RECORDS 87 Guernsey St. Brooklyn, NY 11222 E-mail: firstname.lastname@example.org Web: www.kemado.com Styles/Specialties: hard rock, metal *Accepts unsolicited material KILL ROCK STARS 107 S.E. Washington St. Ste. 155 Portland, OR 97214 E-mail: email@example.com Web: www.killrockstars.com Styles/Specialties: punk, indie KOCH ENTERTAINMENT/ EONE MUSIC GROUP 740 Broadway, 7th Fl. New York, NY 10003 212-353-8800 Web: www.e1music.us KRIAN MUSIC GROUP 224 W. 30th St., Ste. 1007 New York, NY 10001-1077 212-967-3548 E-mail: firstname.lastname@example.org Web: www.krianmusicgroup.com Frank Blasucci, GM LITTLE DOG RECORDS 1146 N. Central Ave. #107 Glendale, CA 91202 818-557-1595 E-mail: email@example.com Web: www.littledogrecords.com Styles/Specialties: Americana, roots rock, singer-songwriter, country Roster: Curt Kirkwood, Moot Davis, Pete Anderson, Chris Jones, the Blazers, Adam Hood LITTLE FISH RECORDS P.O. Box 19164 Cleveland, OH 44119 216-481-1634 E-mail: info@little shrecords.com Web: www.little shrecords.com Styles/Specialties: roots reggae, jam band, smooth jazz, pop Benjamin Boyle, A&R *Accepts unsolicited material LOCO ENTERTAINMENT 1621 W. 25th St., Ste 115 San Pedro, CA 90732 310-548-8500, Fax 310-548-6042 Contacts: Floyd Bocox, President E-mail: Floyd@locoentertainment.com Web: www.lizardsunentertainment.com, www.cliffmorrisonandthelizardsunband.com Roster: Jayo Felony Style/Specialties: hip-hop, rap A&R Contact: Loco Entertainment www.facebook.com/ oydbocox.com LOST HIGHWAY RECORDS See UMG Nashville 401 Commerce St., Ste. 1100 Nashville, TN 37219 615-524-7500 E-mail: firstname.lastname@example.org Web: www.losthighwayrecords.com Styles/Specialties: rock, country, folk *No unsolicited material accepted Luke Lewis, Chairman LOVECAT MUSIC P.O.Box 548, Ansonia Station New York, NY 10023 Fax 646-304-7391 E-mail: email@example.com Web: www.lovecatmusic.com Styles/Specialties: rock, pop, R&B, Latin, world, dance, jazz *Accepts unsolicited material LOVEPUMP UNITED 61 Greenpoint Ave., #508 www.musicconnection.com/amp Brooklyn, NY 11222 347-469-0627 E-mail: firstname.lastname@example.org Web: www.lpurecords.com/v1/index.php Roster: Glitter Pals, Genghis Tron Distribution: Secretly Canadian Distro Styles/Specialties: indie, electro LUAKA BOP 195 Chrystie, Ste. 901F New York, NY 10002 212-624-1469 E-mail: email@example.com Web: www.luakabop.com Styles/Specialties: pop, world *No unsolicited materials. MAGNA CARTA RECORDS A-1 Country Club Rd. East Rochester, NY 14445 585-381-5224 E-mail: firstname.lastname@example.org Web: www.magnacarta.net Styles/Specialties: progressive metal *See website for Demo Submission Peter Morticelli, A&R MAJOR LABEL SCOUT (EMI Music) 345 7th Ave., 24th Fl. New York, NY 10001-5030 Web: www.majorlabelscout.com Ken Krongard, Owner MALACO RECORDS 3023 W. Northside Dr. Jackson, MS 39213 601-982-4522 E-mail: email@example.com Web: www.malaco.com Styles/Specialties: gospel, R&B, spoken word, jazz, blues, soul *No unsolicited material Tommy Couch, Jr., Pres./R&B A&R Wolf Stephenson, VP of A&R DA Johnson, Dir. Gospel Larry Jones, R&B Promotions Director MANIFESTO RECORDS 8340 Melrose Ave. Los Angeles, CA 90069-5420 323-655-2780 Fax 323-655-3333 E-mail: firstname.lastname@example.org Web: www.manifesto.com Contact: Evan Cohen (Business Affairs) Styles/Specialties: rock, indie, Brit-pop, punk Roster: Dead Kennedys, Wedding Present, Cinerama, Tom Waits, Tim Buckley, Lilys, Cranes Distribution: Navarre, Carrot Top, Choke, Darla, Sound of California, Scorpio, Cobraside, Morpheus, Get Hip, F.A.B., Scratch *No unsolicited material MATADOR RECORDS 304 Hudson St., 7th Fl. New York, NY 10013 212-995-5882 Fax 212-995-5883 Web: www.matadorrecords.com Styles/Specialties: all styles *No Unsolicited Material MAXJAZZ 115 W. Lockwood Ave. St. Louis, MO 63119 800-875-8331 E-mail: email@example.com Web: www.maxjazz.com Styles/Specialties: jazz Richard McDonnell, President MEGA TRUTH RECORDS P.O. Box 4988 Culver City, CA 90231 Contact: Jon Barewww E-mail: firstname.lastname@example.org Web: www.jonbare.net/ Styles/Specialties: blues and rock *No phone calls please MENTAL RECORDS 2640 E. Barnett Rd., Ste. E-331 Medford, OR 97504 Web: www.mentalrecords.net, www.myspace.com/mentalrecords Styles/Specialties: alternative, punk Doug Hill, A&R MERGE RECORDS Durham, NC January 2013 www.musicconnection.com 61 Download This Directory From Our Website E-mail: email@example.com Web: www.mergerecords.com Styles/Specialties: alt-rock Roster: Arcade Fire, others MEROKE SKY RECORDS Van Nuys, CA 818-780-5525 E-mail: firstname.lastname@example.org Web: www.merokeskyrecords.com Styles/Specialties: folk/rock Roster: Barry Goldberg, Joe Hajek, Alex Del Zoppo, The Conley’s, Tony Kaye, Asa Danekind Mike Giangreco, A&R METAL BLADE RECORDS 5737 Kanan Rd. #143 Agoura Hills, CA 91301 818-597-1964 Fax 818-597-9366 E-mail: email@example.com Web: www.metalblade.com Styles/Specialties: heavy metal, progressive, rock *See website for Demo Submission Brian Slagel, President Additional location: Metal Blade Records GMBH Marstallstrasse 14 73033 Goppingen, Germany METROPOLIS RECORDS P.O. Box 974 Media, PA 19063 610-595-9940 E-mail: firstname.lastname@example.org, info@ metropolis-records.com Web: www.metropolis-records.com Styles/Specialties: electronic, industrial, goth *Accepts unsolicited material by CD or CD-R MIGHTY TIGER RECORDS/PAPER GARDEN P.O. Box 11178 Glendale, CA 91226 818-507-4240 Fax 818-230-9876 E-mail: email@example.com Styles/Specialties: blues Distribution: City Hall Records, Traditions Alive Bill Stil eld, A&R MILAN ENTERTAINMENT Burbank, CA 91505 E-mail: firstname.lastname@example.org Web: www.milanrecords.com Styles/Specialties: soundtracks, electronic, world MINT RECORDS P.O. Box 3613, M.P.O. Vancouver, BC Canada V6B 3Y6 604-669-MINT E-mail: email@example.com, firstname.lastname@example.org Web: www.mintrecs.com Roster: The Organ, Neko Case, The New Pornographers, cub, Lou Barlow, The Sadies, Piano, The Buttless Chaps, Pansy Division, the Smugglers Styles/Specialties: indie *Send demos via mail MORPHIUS RECORDS 100 E. 23rd St. Baltimore, MD 21218 410-662-0112 E-mail: email@example.com Web: www.morphius.com Styles/Specialties: rock, punk, hip-hop, experimental Simeon Walnunas, Press/PR MOTION CITY RECORDS 1424 4th St., #604 Santa Monica, CA 90401 310-434-1272 E-mail: firstname.lastname@example.org Web: www.motioncity.com Styles/Specialties: alternative rock Roster: Velvet, Voodoo, Brent Fraser, 10 Pound Troy, UFO Bro, Drag, Wendy Bucklew Distribution: Hep Cat *Unsolicited material accepted MOTORIZED MUSIC GROUP P.O. Box 3154 Glendale, CA 91221 818-548-7989 E-mail: email@example.com Web: www.motorizedmusic.com Styles/Specialties: all Randy Nicklaus, A&R (818-548-7989) Laure Dunham, A&R (818-548-7984) MOTOWN 1755 Broadway, 6th Fl. New York, NY 10019 212-373-0750 Web: www.motown.com *No unsolicited material Additional location: 2220 Colorado Ave. 3rd Fl. Santa Monica, CA 90404 Web: www.motown.com MOUNTAIN APPLE COMPANY, THE 1330 Ala Moana Blvd., Ste. 001 Honolulu, HI 96814 800-882-7088, 808-597-1888 Fax 808-597-1151 E-mail: firstname.lastname@example.org Web: www.mountainapplecompany.com Styles/Specialties: traditional & contemporary Hawaiian MRG RECORDINGS Los Angeles, CA 310-629-9782 E-mail: email@example.com, firstname.lastname@example.org Web: www.mrgrecordings.com Styles/Specialties: rock, electronic, ambient, folk NASHVILLE UNDERGROUND P.O. Box 218138 Nashville, TN 37221 615-673-7215 E-mail: email@example.com Web: www.nashville-underground.com Styles/Specialties: country, songwriters NATIONAL GEOGRAPHIC MUSIC Web: http://natgeomusic.net E-mail: firstname.lastname@example.org Jeffre B. Clyburn, VP NETTWERK RECORDS 1650 W. 2nd Ave. Vancouver, BC V6J 1H4 604-654-2929 Fax 604-654-1993 E-mail: email@example.com www.musicconnection.com/amp Web: www.nettwerk.com *No unsolicited material Mark Jowett, VP A&R International Additional locations: 6525 W Sunset Blvd., Ste. 800 Hollywood, CA 90028 323-301-4200, Fax 323-301-4199 345 7th Ave., Ste. 1101 New York, NY 10001 212-760-1540 Fax 212-760-9719 33 Richdale Ave., Ste. 121 Cambridge, MA 02140 617-497-8200 Fax 497-9988 NEW PANTS PUBLISHING INC. & OLD PANTS PUBLISHING INC. 102 E. Pikes Peak Ave., Ste. 200 Colorado Springs, CO 80903 719-632-0227 Fax 719-634-2274 E-mail: firstname.lastname@example.org Web: www.newpants.com, www.oldpants.com Styles/Specialties: all genre styles considered Roster: Stephanie Aramburo, Chad Steele, C. Lee Clarke, Tech T, James Becker, Kathy Watson, Lisa Bigwood, George Montalbano, Silence, Sherwin Greenwood, Joel Diehl, John Ellis and Rocky Shaw. *Unsolicited material thru management or lawyer only. Please call or e-mail before submitting. Robert A. Case, A&R NEW WEST RECORDS 9215 Olympic Blvd. Los Angeles, CA 90212 310-246-5766 E-mail: email@example.com Web: www.newwestrecords.com Styles/Specialties: country, pop, singer- songwriter Mike Ruthig, GM NONESUCH RECORDS 1290 Ave. of the Americas, 23rd Fl. New York, NY 10104 212-707-2900 Fax 212-707-3207 E-mail: firstname.lastname@example.org Web: www.nonesuch.com Roster: Emmylou Harris, Joni Mitchell, Gipsy Kings, KD Lang, Randy Newman, Wilco, Brian Wilson, Stephen Sondheim, Kronos Quartet, Youssou N’Dour, Buena Vista Social Club, Laurie Anderson and more. Styles/Specialties: jazz, classical, Americana, singer-songwriter, contemporary, world, pop *No Unsolicited material Bob Hurwitz, A&R David Bither, Senior VP A&R ODDS ON RECORDS LLC 14A Sunset Way Henderson, NV 89014 702-318-6001 E-mail: email@example.com Web: www.oddsonrecords.com Specialties: pop / rock No unsolicited material please Ted Joseph, A&R OGLIO ENTERTAINMENT P.O. Box 404 Redondo Beach, CA 90277 310-791-8600 Fax 310-791-8670 E-mail: firstname.lastname@example.org Web: www.oglio.com Contact: Carl Caprioglio, Mark Copeland Roster: The Leftovers, Foreign Globester, Margo Guryan, BigBang, Beatallica, George Lopez , Jackie “Joke Man” Martling, comedy, reissues, novelty, soundtracks, Brian Wilson (Beach Boys), Robbie Krieger (The Doors), Ray Manzarek (The Doors), Wisely, Phunk Junkeez, Bouquet of Veal, Ogden Edsl Carl Caprioglio, President OH BOY RECORDS 33 Music Sq. W., Ste. 102B Nashville, TN 37203 800-521-2112 Fax 615-742-1360 E-mail: email@example.com Web: www.ohboy.com Styles/Specialties: country *No unsolicited materials ORCHARD 23 E. 4th St., 3rd Fl. New York, NY 10003 212-201-9280 E-mail: firstname.lastname@example.org Web: www.theorchard.com Brad Navin, CEO PEAK RECORDS 100 N. Crescent Dr., Ste. 275 Beverly Hills, CA 90210 310-385-4040 Fax 310-385-4050 *No unsolicited material Styles/Specialties: classical, contemporary, jazz Andi Howard, President PINCH HIT ENTERTAINMENT 901 Hermosa Ave. Ste. F Hermosa Beach, CA 90254 Web: www.pinchhit.com Styles/Specialties: all styles POSI-TONE P.O. Box 2848 Venice, CA 90294 310-871-2652 E-mail: email@example.com Web: www.posi-tone.com Styles/Specialties: jazz Roster: Jim Rotondi, Spike Wilner, Ralph Bowen, Orrin Evans, Steve Davis, Jared Gold, Brandon Wright, Ken Fowser Marc Free, A&R PPL ENTERTAINMENT GROUP, INC. 468 N. Camden Dr., Ste. 200 Beverly Hills, CA 90210 310-860-7499 818-506-8533 E-mail: firstname.lastname@example.org Web: www.pplzmi.com Styles/Specialties: all *No unsolicited material accepted. Must rst e-mail or write with SASE for permission. PRA RECORDS 1255 Fifth Ave., Ste. 7K New York, NY 10029 212-860-3233 E-mail: email@example.com Web: www.prarecords.com Styles/Specialties: jazz Distribution: E-1 Patrick Rains, A&R PRAVDA RECORDS 6311 North Neenah Ave. H O L LY W O O D M A S T E R I N G HDCD • Analog • digital 888-masters www.HollywoodMastering.com 62 January 2013 www.musicconnection.com Download This Directory From Our Website Chicago, IL 60631 773-763-7509 E-mail: firstname.lastname@example.org Web: www.pravdamusic.com Styles/Specialties: rockabilly, pop, blues Distribution: ADA PRIMARILY A CAPPELLA P.O. Box D San Anselmo, CA 94979 415-455-8602 800-SING-181 (4181) E-mail: email@example.com Web: www.singers.com Styles/Specialties: a cappella *Unsolicited material accepted PUTUMAYO WORLD MUSIC 28 W. 25th St., 5th Fl. New York, NY 10010 212-625-1400 Fax 212-460-0095 E-mail: firstname.lastname@example.org Web: www.putumayo.com *Accepts unsolicited materials. Send CD demo & contact info to: Putumayo World Music, Attn: Jacob Edgar, 413 Carpenter Rd., Charlotte, VT 05445 RAMP RECORDS Santa Barbara, CA E-mail: email@example.com Web: www.ramprecords.com Styles/Specialties: eclectic Roster: Michael McDonald, Jeff Bridges *No unsolicited material RAP-A-LOT RECORDS P.O. Box 924190 Houston, TX 77292 800-861-7272 E-mail: firstname.lastname@example.org Web: www.rapalotrecords.com Styles/Specialties: Hip-Hop, Rap Thomas Randall, Dir. A&R RAZOR & TIE MUSIC 214 Sullivan St., Ste. 4A New York, NY 10012 212-598-2200 E-mail: email@example.com Web: www.razorandtie.com Styles/Specialties: pop, metal, rock, soul, folk, dance, world RCA RECORDS 1540 Broadway, 9th Fl. New York, NY 10036 212-833-6200 Web: www.rcarecords.com *No unsolicited material Peter Edge, CEO Tom Corson, Pres. & COO Keith Naftaly, Exec. VP / Head of A&R RCA RECORDS - NASHVILLE 1400 18th Ave. S, 4th Fl. Nashville, TN 37212 615-301-4488 Web: www.sonymusicnashville.com *No unsolicited material REBEL WALTZ / TIME BOMB RECORDINGS 3162 2nd Ave. Laguna Beach, CA 92651 949-499-8338 Fax 949-499-8333 E-Mail: firstname.lastname@example.org Web: www.rebelwaltz.com Styles/Specialties: punk, alt. rock *No unsolicited material RED HOUSE RECORDS P.O. Box 4044 St. Paul MN 55104 800-695-4687, 651-655-4161 Fax 651-644-4248 E-mail: email@example.com, firstname.lastname@example.org Web: www.redhouserecords.com Styles/Specialties: singer-songwriters, blues, traditional folk, or instrumental RELAPSE RECORDS P.O. Box 2060 Upper Darby, PA 19082 610734-1000 Fax 610-734-3719 E-mail: email@example.com Web: www.relapse.com Styles/Specialties: metal, rock Roster: Baroness, Origin, Brutal Truth, Obscura, Revocation, Red Fang, Toxic Holocaust Matt Jacobson, President REVELATION RECORDS P.O. Box 5232 Huntington Beach, CA 92615 714-842-7584 E-mail: firstname.lastname@example.org Web: www.revelationrecords.com Styles/Specialties: hardcore, punk, emo *Unsolicited material accepted RHYMESAYERS ENTERTAINMENT 2409 Hennepin Ave. Minneapolis, MN 55405 612-977-9870 E-mail: email@example.com Web: www.rhymesayers.com, www.myspace.com/rhymesayers Styles/Specialties: hip-hop/rap Brent Sayers, CEO ROADRUNNER RECORDS 902 Broadway, 8th Fl. New York, NY 10010 212-274-7500 Fax 212-334-6921 E-mail: firstname.lastname@example.org Web: www.roadrunnerrecords.com Ron Burman, Sr. VP A&R Additional locations: 3381 Steeles Ave. E. #100 Toronto, ON Canada M2H 3S7 10-12 Rosser St. Brunswick, Victoria, Australia 3056 Web: email@example.com ROCKZION RECORDS 673 Valley Dr. Hermosa Beach, CA 90254 310-379-6477 Fax 310-379-6477 E-mail: firstname.lastname@example.org Web: www.rockzion.com Styles/Specialties: Christian and crossover rock ROIR (say ROAR!) (Reachout International Records) P.O. Box 150-460 Van Brunt Station Brooklyn, NY 11215 718-477-ROIR (7647) Fax 718-852-7657 www.musicconnection.com/amp E-mail: email@example.com Web: www.roir-usa.com Styles/Specialties: punk, reggae, rock *Unsolicited material accepted, but look at our website so you know who we are. ROTTEN RECORDS A&R Dept. P.O. Box 56 Upland, CA 91785 E-mail: firstname.lastname@example.org Web: www.rottenrecords.com Styles/Specialties: metal, punk *Unsolicted material accepted. Dick Shitelmeyer, A&R ROUNDER RECORDS One Rounder Way Burlington, MA 01803 E-mail: email@example.com Web: www.rounder.com *No unsolicited material Styles/Specialties: roots music Marian Leighton, Owner, A&R Bill Nowlin, Owner, A&R John Virant Exec VP, A&R Scott Billington, VP, A&R Dave Godowski, A&R Dir. SADDLE CREEK RECORDS P.O. Box 8554 Omaha, NE 68108 402-558-8208 E-mail: firstname.lastname@example.org Web: www.saddle-creek.com/home.html Styles/Specialties: rock, electronica, country rock Robb Nansel, President SEANY RECORDS 7567 La Jolla Blvd. La Jolla, CA 92037 858 551-5885 Email: email@example.com Web: www.seanyrecords.com Styles: pop, rock, urban Harlan Lansky, President SHANGRI-LA PROJECTS P.O. Box 40106 Memphis, TN 38174 901-359-3102 E-mail: firstname.lastname@example.org Web: www.shangrilaprojects.com Styles/Specialties: alternative rock Sherman Willmott, A&R SIX DEGREES RECORDS 520 Hampshire St. #202 San Francisco, CA 94110 415-626-6334 E-mail: email@example.com Web: www.sixdegreesrecords.com Styles/Specialties: world music, ambient, folk, contemporary classical and intelligent pop music *No unsolicited material SKAGGS FAMILY RECORDS P.O. Box 2478 Hendersonville, TN 37077 615-264-8877 Fax 615-264-8899 E-mail: firstname.lastname@example.org Web: www.skaggsfamilyrecords.com Contact: Ricky Skaggs, Charlotte Scott SONIC SAFARI MUSIC / JONKEY ENTERPRISES 663 W. California Ave. Glendale, CA 91203 818-247-6219, 800-259-6004 E-mail: email@example.com Web: www.sonicsafarimusic.com Styles/Specialties: environmental, world, traditional, ethnic Distribution: Indies Chuck Jonkey, A&R SONIC PAST MUSIC, LLC 25276 Via Tanara Valencia, CA 91355 818-203-9999 Web: www.sonicpastmusic.com Styles/Specialties: specializes in unreleased material by famous artists as well as cult-based musicians of the ‘60s through the ‘90s Joey Stec, President SONY DISCOS 2190 N.W. 89th Pl. Miami, FL 33172 Web: www.sonymusiclatin.com *No unsolicited material SONY MUSIC LABEL GROUP 550 Madison Ave. New York, NY 10022 212-833-8000 Web: www.sonymusic.com *No unsolicited material SONY MUSIC LATIN 9830 Wilshire Blvd. Beverly Hills, CA 902112 310-272-2100 Web: www.sonymusic.com SONY MUSIC NASHVILLE (Arista Nashville, BNA Records, Columbia Nashville, RCA Records Nashville) 1400 18th Ave. S., 4th Fl. Nashville, TN 37212 615-858-1300 Fax 615-301-4303 Web: www.sonynashville.com *No unsolicited material Jim Catino, VP A&R Lisa Ramsey-Perkins Sr. Dir. A&R Duane Hobson, Manager A&R SPARROW RECORDS P.O. Box 5010 Brentwood, TN 37024-5010 615-371-6800 Fax 615-371-6997 Web: www.sparrowrecords.com Styles/Specialties: Christian *No unsolicited materials SST 406 Talbot St. Taylor, TX 76574 512-352-8165 Fax 512-352-8178 Web: www.sstsuperstore.com Styles/Specialties: rock, jazz, punk progressive rock *Unsolicited material accepted STREETBEAT RECORDS / PANDISC MUSIC CORP. 247 SW 8th St., Ste. 349 Miami, FL 33131 305-557-1914 Fax 888-493-7778 January 2013 www.musicconnection.com 63 Download This Directory From Our Website E-mail: firstname.lastname@example.org Web: www.pandisc.com, www.streetbeatrecords.com *Unsolicited material accepted STONES THROW RECORDS, LLC 2658 Griffith Park Blvd., #504 Los Angeles, CA 90039 E-mail: email@example.com Web: www.stonesthrow.com *Accepts unsolicited material, no MP3’s SUB POP RECORDS 2013 4th Ave., 3rd Fl. Seattle, WA, 98121 206-441-8441 E-mail: firstname.lastname@example.org Web: www.subpop.com *Accepts unsolicited materials Tony Kiewel, Head of A&R Stuart Meyer, A&R Richard Laing, A&R SURFDOG RECORDS 1126 South Coast Hwy. 101 Encinitas, CA 92024 760-944-8000 Fax 760-944-7808 E-mail: email@example.com Web: www.surfdog.com Styles/Specialties: rock Roster: Brian Setzer, Stray Cats, Richard Cheese, Gary Hoey, Rusty Anderson, Slightly Stoopid, Dan Hicks, Butthole Surfers, Gibby Haynes, Dylan Donkin, Dave Stewart, the Wylde Bunch, Burning of Rome *Unsolicited material accepted Scott Seine, A&R SYMPATHY FOR THE RECORD INDUSTRY 120 State Ave., N.E. 134 Olympia, WA 98501 E-mail: firstname.lastname@example.org Web: www.sympathyrecords.com Styles/Specialties: rock, pop, punk TANGENT RECORDS P.O. Box 383 Reynoldsburg, OH 43068-0383 614-751-1962 Fax 614-751-6414 E-mail: email@example.com Web: www.tangentrecords.com Styles/Specialties: contemporary instrumental, rock instrumental, electronic, jazz-rock, world beat Distribution: self-distributed *Unsolicited material accepted Andrew J. Batchelor, President THIN MAN RECORDS P.O. Box 322 Torrance, CA 90507 310-320-8822 E-mail: submissions@thinmanentertainment. com, firstname.lastname@example.org Web: www.thinmanentertainment.com Styles/Specialties: alternative rock, darkwave, deathrock, gothic, industrial, jazz, junk, punk, and psychobilly THUMP RECORDS PO Box 9605 Brea, CA 92822 909-595-2144 E-mail: email@example.com Web: www.thumprecords.com Styles/Specialties: Latin rap, old skool, rap, R&B, Latin, oldies, disco *Unsolicited material accepted TOMMY BOY 902 Broadway New York, NY 10010 212-388-8475 E-mail: firstname.lastname@example.org Web: www.tommyboy.com *Accepts unsolicited material. To submit demos, please e-mail low-bit rate MP3s or links to MsSpace and Facebook to: email@example.com Rosie Lopez, VP A&R TRICOPOLIS RECORDS 33261 Adelfa St. Lake Elsinore, CA 92530 951-678-0831, 951-757-5055 E-mail: firstname.lastname@example.org Web: www.tricopolisrecords.com Contact: Mike Nadolson Styles/Specialties: bluegrass, folk, acoustic *No unsolicited material www.musicconnection.com/amp TRIPLE X RECORDS P.O. Box 862529 Los Angeles, CA 90086-2529 323-221-2204 Fax 323-221-2778 E-mail: email@example.com Styles/Specialties: alt. rock, reissues, goth, rap Distribution: Navarre *Call before sending material Peter Huer, Owner Dean Naleway, A&R U & L RECORDS 1617 Cosmo St., Ste. 411 Los Angeles, CA 90028 E-mail: License@urbandlazar.com Web: www.urbandlazar.com, myspace.com/urbandlazar Styles/Specialities: indie rock, alternative, singer-songwriter *Accepts Unsolicited Material UNIVERSAL MOTOWN REPUBLIC 1755 Broadway, 8th Fl. New York, NY 10019 212-333-8000 Web: www.umrg.com *No unsolicited material Tom Mackay, Exec. VP A&R UNIVERSAL MUSIC GROUP 2220 Colorado Ave., 3rd Fl. Santa Monica, CA 90404 310-865-0809 Web: www.universalmusic.com UNIVERSAL MUSIC GROUP - NASHVILLE 401 Commerce St., Ste. 1100 Nashville, TN 37219 615-244-8944 E-mail: firstname.lastname@example.org Web: www.umgnashville.com *No unsolicited material Brian Wright, VP A&R VAGRANT RECORDS 2118 Wilshire Blvd., Ste. 361 Santa Monica, CA 90403 323-302-0100 E-mail: email@example.com, firstname.lastname@example.org Web: www.vagrant.com Styles/Specialities: rock, indie, experimental Roster: City and Colour, Dashboard Confessional, the Eels, Face to Face *Accepts unsolicited material by mail Jon Cohen, President Dan Gill, GM VANGUARD RECORDS 2700 Pennsylvania Ave., Ste. 1100 Santa Monica, CA 90404 310-829-9355 Fax 310-315-9996 E-mail: email@example.com Web: www.vanguardrecords.com Syles/Specialties: jazz, folk music *No unsolicited material Gary Paczosa, VP A&R Steve Buckingham, Sr. VP VAN RICHTER RECORDS 440 South El Cielo Rd. Ste. 3-219 Palm Springs, CA 92262 858-731-2995 E-mail: firstname.lastname@example.org Web: www.vanrichter.net Styles/Specialties: industrial, gothic, metal Paul Abramson, A&R *Accepts unsolicited material VAPOR RECORDS 1460 4th St. #300 Santa Monica, CA 90401 310-393-8442 Fax 310-393-6512 E-mail: email@example.com Web: www.vaporrecords.com Styles/Specialties: indie, rock *Accepts unsolicited material VERVE MUSIC GROUP-UMG 1755 Broadway 3rd. Fl. New York, NY 10019 212-331-2000 Fax 212-331-2005 E-mail: firstname.lastname@example.org Web: www.vervemusicgroup.com Styles/Specialties: jazz, adult contemporary, classical *No unsolicited material DO YOU WANT TO BE ON THE 1st PAGE OF WE’LL MAKE YOU A ROCKSTAR ON GOOGLE ? We’ll SHOW you how to get there for $249 FREE for Readers 951-777-2508 www.localmarkeƟngauthority.com FREE WEBSITE TRAFFIC ANALYSIS MenƟon “MUSIC CONNECTION” SCAN OR CALL 64 January 2013 www.musicconnection.com Download This Directory From Our Website Dahlia Ambach Caplin, Dir. A&R Evelyn Morgan, Assoc. Dir. A&R Admin VICE RECORDS 97 N. 10th St., Ste. 202 Brooklyn, NY 11211 718-233-3657 Fax 718-599-1769 E-mail: email@example.com Web: www.vicerecords.com Styles/Specialties: rock *Accepts unsolicited material VICTORY RECORDS 346 N. Justine St., 5th Fl. Chicago, IL 60607 312-666-8661 Fax 312-666-8665 E-mail: firstname.lastname@example.org Web: www.victoryrecords.com Styles/Specialties: rock, punk, metal Tony Brummel, Founder VIRGIN RECORDS 5750 Wilshire Blvd, Ste. 300 Los Angeles, CA 90036 323-692-1100 Web: www.virginrecords.com *No unsolicited material VIRGIN RECORDS AMERICA 150 5th Ave., 2nd-3rd Fls. New York, NY 10011 212-786-8900 Web: www.virginrecords.com *No unsolicited material VOLCOM ENTERTAINMENT 1740 Monrovia Ave. Costa Mesa, CA 92627 949-646-2175 E-mail: email@example.com Web: www.volcoment.com Styles/Specialties: punk, indie, rock Roster: Valient Thorr, Riverboat Gamblers, Year Long Disaster, ASG Ryan Immegart, A&R *No unsolicited material WARNER BROS. NASHVILLE 20 Music Sq. E. Nashville, TN 37203 615-748-8000 E-mail: firstname.lastname@example.org Web: www.wbrnashville.com *No unsolicited material Scott Hendricks, Sr. VP A&R Cris Lacy, Director A&R Rebekah Sterk, Dir./A&R Film/TV, Special Proj. WARNER BROS. RECORDS 3400 Warner Blvd., 3rd Fl. Burbank, CA 91505 818-846-9090 Fax 818-840-2343 Web: www.wbr.com *No unsolicited material Michael Caren, President, A&R Jeff Fenster, VP A&R Mike Elizondo, Sr. VP A&R Julian Raymond, VP A&R, Staff Producer Kevin Kusatsu, A&R Greg Federspiel, Manager A&R Matt Marshall, Sr. VP A&R Alaska Gedeon, Director A&R - Urban Dallas Martin, A&R Consultant Additional location: 817 W. Peachtree St. #300 Atlanta, GA 30308 Web: www.warnerbrosrecords.com WARNER MUSIC GROUP 1290 Ave. of the Americas, 23rd Fl. New York, NY 10019 212-275-2000 Web: www.wmg.com *No unsolicited material WARNER MUSIC LATINA 555 Washington Ave., 4th Fl. Miami Beach, FL 33319 305-702-2200 Fax 305-266-8771 E-mail: email@example.com Web: www.miwml.com *No unsolicited material Gabriella Martinez, VP Marketing WAXPLOITATION ENTERTAINMENT 201 South Santa Fe Ave., Ste. 100 Los Angeles, CA 90012 213-687-9563 E-mail: firstname.lastname@example.org Web: www.waxploitation.com Styles/Specialties: hip-hop WICKED COOL RECORDS 434 6th Ave., Ste. 6R New York, NY 10011 212-868-9003 E-mail: email@example.com, scott@ wickedcoolrecords.com Web: www.wickedcoolrecords.com Styles/Specialties: garage rock Scott Hueston, Label Manager WILD RECORDS Web: www.wildrecordsusa.com Styles: rockabilly, blues, surf, garage and soul Reb Kennedy, President, Founder WIND-UP 79 Madison Ave., 17th Fl. New York, NY 10016 212-895-3100 E-mail: firstname.lastname@example.org Web: www.winduprecords.com *Accepts unsolicited material Gregg Wattenberg, Sr. VP A&R, Chief Creative Officer Mike Kahn, Chief Financial Officer WORD ENTERTAINMENT 25 Music Sq. W. Nashville, TN 37203 615-251-0600 Fax 615-726-7888 Web: www.wordlabelgroup.com *No unsolicited material Styles: Christian Rod Ralley, President / CEO Josh Bailey, Sr. VP A&R Susan Riley, Sr. VP A&R & Publishing XL RECORDINGS 304 Hudson Street, 7th Fl. New York, NY 10013wnd Web: www.xlrecordings.com Styles/Specialties: rock, indie, electro Roster: Adele, Sigur R贸s, the xx, MIA, Friendly Fires, Ratatat, Vampire Weekend, Peaches, the White Stripes, Jack White www.musicconnection.com/amp January 2013 www.musicconnection.com 65 27th Annual Directory of Download This Directory From Our Website www.musicconnection.com/amp Music Attorneys Download This Directory From Our Website: www.musicconnection.com/amp Compiled By Denise Coso L egal contracts are getting thicker. Which is why artists must rely on an informed attorney to make smart career choices. Using MCâ€™s exclusive, national directory, anyone can nd and engage the best legal minds in the industry. Phoenix, AZ 85012-2788 602-351-8000 Fax 602-648-7000 E-mail: PParker@perkinscoie.com Web: www.perkinscoie.com Contact: Paul T. Parker Specialty: Trademark Law, Intellectual Property SANDERS & PARKS, PC 3030 N. Third St., Ste. 1300 Phoenix, AZ 85012 602-532-5600 Fax 602-532-5700 Web: www.sandersandparks.com Specialty: Intellectual Property SNELL & WILMER One Arizona Center 400 E. Van Buren St., Ste. 1900 Phoenix, AZ 85004-2202 602-382-6000 Fax 602-382-6070 E-mail: email@example.com Web: www.swlaw.com Specialty: Intellectual Property Additional location: One S. Church Ave., Ste. 1500 Tucson, AZ 85701-1630 520-882-1200 Fax 520-884-1294 WILLIAM D. BLACK, LAW OFFICES OF M & I Bank Building One E. Camelback Rd., Ste. 550 Phoenix, AZ 85012 602-910-6144, 888-349-3599 Fax 602-265-3685 Web: www.billblacklaw.com Additional location: Kierland Corporate Center 7047 East Greenway Parkway, 2nd Fl Scottsdale, AZ 85254 WRIGHT, LINDSEY & JENNINGS, LLP 200 W. Capitol Ave., Ste. 2300 Little Rock, AR 72201 501-371-0808 501-376-9442 Web: www.wlj.com Contact: Michelle Kaemmerling Specialty: Intellectual Property Additional location: 3333 Pinnacle Hills Pkwy., Ste. 510 Rogers, AR 72758 479-986-0888 E-mail: firstname.lastname@example.org Specialty: music and entertainment Law *No unsolicited material BARNES, MORRIS, KLEIN, MARK, YORN, BARNES & LEVINE 2000 Ave. of the Stars N. 3rd Fl. Los Angeles, CA 90067 310-319-3900 Fax 310-319-3999 BARRY K. ROTHMAN 1901 Ave. of the Stars, Ste. 370 Los Angeles, CA 90067 310-557-0062 Fax 310-557-9080 Web: www.bkrlegal.com Specialty: all areas *No unsolicited material BERGER KAHN, A LAW FIRM 4551 Glencoe Ave., Ste. 245 Marina del Rey, CA 90292 310-578-6800 Fax 310-578-6801 E-mail: email@example.com Web: www.bergerkahn.com Specialty: Contract negotiation, intellectual property, copyright, publishing, digital rights, creative rights, merchandise licensing, royalties calculations, management, touring, recording, digital downloading. Expert witness and litigation consulting services *No unsolicited material Additional Offices: Orange County, San Diego, S.F. Bay Area BEVERLY HILLS BAR ASSOCIATION 9420 Wishire Blvd. 2nd Fl. Beverly Hills, CA 90212 310-601-2422 E-mail: LRIS@BHBA.org Web: www.bhba.org BINGHAM The Water Garden, Ste. 2050 N. 1601 Clover eld Blvd. Santa Monica, CA 90404 310-907-1000 E-mail: firstname.lastname@example.org Web: www.bingham.com Contact: Jonathan A. Loeb BLOOM, HERGOTT, DIEMER, ROSENTHALL, LAVIOLETTE & FELDMAN, LLP 150 S. Rodeo Dr., 3rd Fl. Beverly Hills, CA 90212 310-859-6800 Fax 310-859-2788 *No unsolicited material BRET D. LEWIS, LAW OFFICES OF Santa Monica Wellesley Plaza 12304 Santa Monica Blvd., Ste. 107A Los Angeles, CA 90025 310-207-0696 Fax 310-362-8424 E-mail: email@example.com Web: www.blewislaw.com BRIAN D. PERLEY, LAW OFFICES OF 11601 Wilshire Blvd., Ste. 500 Los Angeles, CA 90025 424-245-7430 E-mail: firstname.lastname@example.org Web: www.perleylaw.com Specialty: Entertainment, Corporate and Internet law CALIFORNIA LAWYERS FOR THE ARTS 1641 18th St. Santa Monica, CA 90404 310-998-5590 Fax 310-998-5594 E-mail: email@example.com Web: www.calawyersforthearts.org Specialty: Lawyer Referral Service, Mediation/Arbitration Additional offices in Sacramento and San Francisco CHRISTOPHER J. OLSEN, LAW OFFICES OF 3075 E. Thousand Oaks Blvd., Ste. 100 Westlake Village, CA 91362 805-557-0660 Fax 805-491-8324 ADAMS AND REESE, LLP Regions Harbert Plaza 1901 6th Ave. N., Ste. 3000 Birmingham, AL 35203 205-250-5000 E-mail: ann.huckstep.@arlaw.com Web: www.adamsandreese.com Specialty: Entertainment Law, Music Law, Intellectual Property Additional location: RSA Battle House Tower 11 N. Water St., Ste. 23200 Mobile, AL 36602 251-433-3234 JOHNSTON BARTON PROCTOR & ROSE, LLP 569 Brookwood Village St., Ste. 901 Birmingham, AL 35209 205-458-9400 Fax 205-458-9500 E-mail: firstname.lastname@example.org Web: www.johnstonbarton.com Contact: David W. Proctor, Managing Partner Specialty: Entertainment Law, specializing in representing music industry clients M.S. McNAIR 2151 Government St. Mobile, AL 36606 800-297-1703, 251-450-0111 Fax 251-450-0822 E-mail: email@example.com Web: www.msmcnairlaw.com Contact: Michael S. McNair Specialty: contracts Alabama AKIN, GUMP, STRAUSS, HAUER & FELD, LLP 2029 Century Park E., Ste. 2400 Los Angeles, CA 90057 213-229-1000 E-mail: firstname.lastname@example.org Web: www.akingump.com Additional location: 633 W. Fifth Street, Ste. 5000 Los Angeles, CA 90071 213-254-1200 580 California St., Ste. 1500 San Francisco, CA 94104 415-765-9500 E-mail: email@example.com ALFRED KIM GUGGENHEIM, ESQ. Hamburg, Karic, Edwards & Martin 1900 Ave. of the Stars, Ste. 1800 Los Angeles, CA 90067 310-552-9292 Fax 310-552-9291 E-mail: firstname.lastname@example.org Web: www.hkemlaw.com Specialty: All music-related activities in the entertainment industry *No unsolicited material, please call or e-mail rst. ALLEN B BOELTER, THE LAW OFFICES 4640 Admiralty Way, Ste. 500 Marina del Rey, CA 90292 310-496-5710 Contact: Al Boelter, managing partner Web: http://www.boelterlaw.com Specialty: Business consulting, contracts and transactional matters *Please call for permission before submitting AMY GHOSH, LAW OFFICES OF 3255 Wilshire Blvd., Ste. 1530 Los Angeles, CA 90010 213-365-2370, 213-479-8349 E-mail: email@example.com Web: www.lawyers.com/amyghosh ANDREA BRAUER 3430 Larga Ave. Los Angeles, CA 90039 323-661-2440 Specialty: Contracts, trademarks and copyright *No unsolicited material ANDREW STERN 9100 Wilshire Blvd. Ste. 715, E. Beverly Hills, CA 90212 310-274-8507 Fax 310-274-2080 E-mail: firstname.lastname@example.org *No unsolicited material ARNOLD & PORTER 777 S. Figueroa St.. 44th Fl. Los Angeles, CA 90017 213-243-4000 Fax 213-243-4199 Web: www.arnoldporter.com Specialty: all areas, intellectual property/ technology *No unsolicited material Additional location: Three Embarcadero Center, 7th Fl. San Francisco, CA 94111 415-471-3100 Fax 415-471-3400 1801 Page Mill Rd., Ste. 110 Palo Alto, CA 94304 650-798-2920, Fax 650-798-2999 ARTHUR T. BERGGREN 611 1/2 Ocean Park Blvd. Santa Monica, CA 90405 310-392-3088 Fax 310-392-0931 California DAVIS WRIGHT TREMAINE, LLP 701 W. Eighth Ave. Anchorage, AK 99501-3468 907-257-5300 Fax 907-257-5399 E-mail: email@example.com Web: www.dwt.com Specialty: Entertainment Law DORSEY & WHITNEY LLP 1031 W. Fourth Ave., Ste. 600 Anchorage, AK 99501-5907 907-276-4557, 866-270-0350 E-mail: firstname.lastname@example.org Web: www.dorsey.com Contact: William J. Evans Specialty: Intellectual Property PERKINS COIE 1029 W. Third Ave., Ste. 300 Anchorage, AK 99501-1981 907-279-8561 Fax 907-276-3108 E-mail: email@example.com Web: www.perkinscoie.com Contact: Eric B. Fjelstad Specialty: Trademark Law, Intellectual Property Alaska CARVER LAW 2024 Arkansas Valley Dr., Ste. 800 Little Rock, AR 72212-4147 501-224-1500 Fax 501-224-8831 E-mail: firstname.lastname@example.org Web: www.arkpatent.com Specialty: Intellectual Property Additional location: P.O. Box 1497 Santa Barbara, CA 93102 805-964-9777, 805-456-3906 E-mail: email@example.com JACK NELSON JONES & BRYANT, PA The Metropolitan Tower 2800 Cantrell Rd., Ste. 500 Little Rock, AR 72202 501-375-1122 Fax 501-375-1027 Web: www.jacknelsonjones.com Specialty: Intellectual Property Additional location: 106 W. 2nd St. Malvern, AR 72104 501-332-4910 Fax 501-332-4910 ROSE LAW FIRM 120 E. Fourth St. Little Rock, AR 72201-2893 501-375-9131 Fax 501-375-1309 E-mail: info@roselaw rm.com Web: www.roselaw rm.com Specialty: Intellectual Property Arkansas LEWIS AND ROCCA, LLP LAWYERS One S. Church Ave., Ste. 700 Tucson, AZ 85701 520-622-2090 Fax 520-622-3088 E-mail: Aaikman@LRLaw.com Web: www.lrlaw.com Contact: Anne, Aikman-Scalese, of Counsel Specialty: Intellectual Property, Trademarks & Copyrights PERKINS COIE 2901 N. Central Ave., Ste. 2000 Arizona 66 January 2013 www.musicconnection.com Download This Directory From Our Website Web: chrisolsenlaw.com Practice Areas: Entertainment Law, Music Law, Contract Negotiation, Business and Transactional Matters, Civil Litigation. 26 years experience Additional Specialty: Studio and Performance Bass Player. I share musicians’ concerns because I am one. DAVIS, SHAPIRO, LEWIT, MONTONE & HAYES, LLP 150 S. Rodeo Dr., Ste. 200 Beverly Hills, CA 90212 310-248-3400 Fax 310-278-4457 E-mail: firstname.lastname@example.org Specialty: Entertainment Law D. BURGUNDY MORGAN, ESQ. ONE LLP 4000 MacArthur Blvd., West Tower, Ste. 110 Newport Beach, CA 92660 855-466-3557, 949-502-2870 E-mail: email@example.com Specialty: Entertainment Law DEAN SHELDON SERWIN The Taft Building 1680 N. Vine St., Ste. 1115 Hollywood, CA 90028-8838 323-465-1735 E-mail: firstname.lastname@example.org Web: www.deanserwin.com Specialty: full-service for entertainment industry, including: records, publishing, online, video-game, lm and television, management, licensing, trademark, music clearance. Selected “shopping” DIAMOND & WILSON 12304 Santa Monica Blvd., Ste. 300 Los Angeles, CA 90025 310-820-7808 Fax 310-826-9658 Specialty: all areas except litigation and demo shopping *No unsolicited material DIJULIO LAW GROUP 330 N. Brand Blvd., Ste. 702 Glendale, CA 91203 818-660-1582 Toll Free: 888-519-1613 E-mail: email@example.com Web: www.dijuliolawgroup.com Specialty: Record contracts, music publishing, licenses Additional location: 6 Woodard Ave. Absarokee, MT 59001 DONALD & CALLIF 400 S. Beverly Dr., Ste. 400 Beverly Hills, CA 90212 310-277-8394, 310-277-4870 E-mail: info@MichaelCDonaldson.com Web: www.michaelcdonaldson.com *No unsolicited material DONALD S. PASSMAN Gang, Tyre, Ramer & Brown, Inc. 132 S. Rodeo Dr. #306 Beverly Hills, CA 90212-2414 310-777-4800 Fax 310-777-4801 *No unsolicited material DOUGLAS C. WICKS 8405 Pershing Dr., Ste. 500 Playa del Rey, CA 90293 310-578-6528 E-mail: firstname.lastname@example.org Web: Duiattorney4all.com Specialty: litigation *No unsolicited material DRINKER BIDDLE 1800 Century Park E., Ste. 1400 Los Angeles, CA 90067 310-203-4000, 310-229-1285 E-mail: William.Hanssen@dbr.com Web: drinkerbiddle.com *No unsolicited material EDELSTEIN, LAIRD & SOBEL 9255 Sunset Blvd., Ste. 800 Los Angeles, CA 90069 310-274-6184 Fax 310-274-6185 E-mail: email@example.com Web: www.elsentlaw.com Specialty: all areas except demo shopping *No unsolicited material ERIC NORWITZ 3333 W. Second St., Ste. 52-214 Los Angeles, CA 90004-6149 213-389-3477 E-mail: firstname.lastname@example.org Specialty: entertainment law and litigation *Unsolicited material accepted FINDELLE LAW & MANAGEMENT 2029 Century Park E., Ste. 900 Los Angeles, CA 90067 310-552-1777 Fax 310-286-1990 E-mail: email@example.com Contact: Stann Findelle, Esq. Specialty: manager and recording agreements, production, actors, broadcasting and publishing *Call before sending material FISHBACH, PERLSTEIN, LIEBERMAN & ALMOND, LLP 1925 Century Park E., Ste. 2050 Los Angeles, CA 90067 310-556-1956 Fax 310-556-4617 Web: fpllaw.com Contact: Michael Perlstein Specialty: all areas *No unsolicited material FOX LAW GROUP 14724 Ventura Blvd., PH Sherman Oaks, CA 91403 818-461-1740 Fax 818-461-1744 Web: http://foxlawgroup.com E-mail: Sandy@foxlawgroup.com Contact: Samuel J. Fox Specialty: All forms of entertainment transactions *No unsolicited material FREDRIC W. ANSIS Reed Smith, LLP 1901 Ave. of the Stars, Ste. 700 Los Angeles, CA 90067 310-734-5259 Fax 310-734-5299 E-mail: firstname.lastname@example.org Web: www.reedsmith.com Specialty: Music & Advertising GANG, TYRE, RAMER & BROWN, INC. 132 S. Rodeo Dr. Beverly Hills, CA 90212 310-777-4800 *No unsolicited material GERRY BRYANT, ESQ. 9903 Santa Monica Blvd., Ste. 1007 Beverly Hills, CA 90212 310-301-2728 Web: www.gerrybryant.com E-mail: email@example.com *No unsolicited material or deal shopping. GIBSON, DUNN & CRUTCHER, LLP 333 S. Grand Ave., 47th Fl. Los Angeles, CA 90071 213-229-7000 Fax 213-229-7520 E-mail: firstname.lastname@example.org Web: www.gibsondunn.com *No unsolicited material Additional location: 2029 Century Park E. Los Angeles, CA 90067-3026 310-552-8500 Fax 310-551-8741 *See web for offices in other US cities and the world GLADSTONE MICHEL WEISBERG WILLNER & SLOANE 4551 Glencoe Ave., Ste. 300 Marina del Rey, CA 90292 310-821-9000 Fax 310-775-8775 E-mail: email@example.com Web: www.gladstonemichel.com Specialty: Contract negotiation, intellectual property, copyright, publishing, digital rights, creative rights, merchandise licensing, royalties calculations, management, touring, recording, digital downloading, entertainment insurance, expert witness and litigation consulting services *No unsolicited material. LAW OFFICES OF GLENN T. LITWAK, A PROFESSIONAL CORPORATION 201 Santa Monica Blvd., Ste. 300 Santa Monica, CA 90401 310-858-5574 Fax 310-207-4180 E-mail: firstname.lastname@example.org Web: www.litwakandhavkin.com GREENBERG, GLUSKER 1900 Ave. of the Stars, 21st Fl. Los Angeles, CA 90067 310-553-3610 Fax 310-553-0687 Web: www.greenbergglusker.com *No unsolicited material GREGORY L. YOUNG 22151 Ventura Blvd., Ste. 201 Woodland Hills, CA 91364 www.musicconnection.com/amp 805-381-0700 Fax 805-598-0712 E-mail: email@example.com Specialty: Representation of musicians and entertainment companies. Recording agreements; publishing/administration/ songwriter agreements; touring agreements; band; producer; production; licensing; publishing administration; copyright and trademark registration; copyright infringement; entertainment and business litigation. *No unsolicited material HARTFORD O. BROWN, ESQ. Klinedinst, PC 777 S. Figueroa St., Ste. 2800 Los Angeles, CA 90017 213-406-1100 Fax 406-1101 E-mail: firstname.lastname@example.org Web: www.klinedinstlaw.com Specialty: Entertainment, contractual/ transactional, intellectual property, general litigation *No unsolicited material. HEICKLEN LAW OFFICES 16255 Ventura Blvd., Ste. 515 Encino, CA 91436 818-907-7771 Contact: Michael Heicklen HEIMANN GALEN, LLP 9701 Wilshire Blvd, Suite 1000 Beverly Hills, CA 90212 310-274-9701 Fax 323-395-5722 E-mail: email@example.com Web: www.heimanngalen.com Specialty: Music and Entertainment Law HELMER, FRIEDMAN, LLP 8522 National Blvd., Ste. 107 Culver City, CA 90232 310-396-7714 Fax 310-396-9215 E-mail: firstname.lastname@example.org Web: helmerfriedman.com Contact: Ken Helmer Specialty: all areas *No unsolicited material HERTZ & LICHTENSTEIN, LLP 450 N. Roxbury Dr., 8th Fl. Beverly Hills, CA 90210 310-271-8777 Fax 310-276-8310 E-mail: email@example.com Web: www.hlmedialaw.com Contact: Kenneth Hertz Specialty: contracts and publishing *No unsolicited material IRELL & MANELLA, LLP 1800 Ave. of the Stars, Ste. 900 Los Angeles, CA 90067 310-277-1010 Fax 310-203-7199 E-mail: firstname.lastname@example.org Web: www.irell.com Additional location: 840 Newport Center Dr., Ste. 400 Newport Beach, CA 92660-6324 949-760-0991 Fax 949-760-5200 ISAACMAN, KAUFMAN & PAINTER 10250 Constellation Blvd., Ste. 2900 Los Angeles, CA 90067 310-881-6800 Fax 310-881-6801 Web: www.ikplaw.com E-mail: email@example.com Contact: Steven Lowy, Andrew Zucker, Chuck Hurewitz, Neal Fisher *No unsolicited material JACKOWAY, TYERMAN, WERTHEIMER, AUSTEN, MANDELBAUM, & MORRIS 1925 Century Park E., 22nd. Fl. Los Angeles, CA 90067 310-553-0305 Fax 310-553-5036 *No unsolicited material JAY COOPER (Greenberg Traurig LLP) 1840 Century Park E., Ste. 1900 Los Angeles, CA 90067 310-586-7700 Fax 310-586-7800 Web: www.gtlaw.com E-mail: Cooper@gtlaw.com Specialty: entertainment law and copyright, 30 offices worldwide JEFFREY L. GRAUBART 100 Corson St., Third Fl. Pasadena, CA 91103 626-304-2800 Fax 626-304-2807 E-mail: firstname.lastname@example.org Web: www.entertainmentlaw.la Specialty: copyrights and litigation *Unsolicited material accepted JOHNSON & JOHNSON, LLP 439 N. Canon Dr., Ste. 200 Beverly Hills, CA 90210 310-975-1080 Fax 310-975-1095 E-mail: email@example.com Web: www.jjllplaw.com Contact: Neville L. Johnson Specialty: litigation and contracts *No unsolicited material JONATHAN STEIN, LAW OFFICES OF 1875 Century Park E., Ste. 1500 Los Angeles, CA 90067 310-587-2277 Fax 310-575-0170 E-mail: firstname.lastname@example.org Web: www.jsteinlaw.com *No unsolicited material JOSHUA P. BINDER Attorney at Law 8730 Sunset Blvd., Ste. 470 Los Angeles, CA 90069 310-855-1223 E-mail: email@example.com Web: www.joshbinder.com Specialty: Music, television, IP licensing and contract negotiation KATTEN, MUCHIN, ROSENMAN, LLP 2029 Century Park E., Ste. 2600 Los Angeles, CA 90067 310-788-4400 E-mail: firstname.lastname@example.org Web: www.kattenlaw.com KENOFF & MACHTINGER, LLP 1801 Ave. of the Stars, Ste. 1520 Los Angeles, CA 90067 310-552-0808 Fax 310-277-0653 Web: www.entertainmentlawla.com E-mail: email@example.com Specialty: contracts, litigation *No unsolicited material, no shopping KLEINBERG, LANGE, CUDDY, KLEIN, LLP 2049 Century Park E., Ste. 3180 Los Angeles, CA 90067 310-286-9696 Fax 310-277-7145 E-mail: firstname.lastname@example.org Web: www.kllck.com Specialty: contracts and publishing *No unsolicited material LAPOLT LAW, PC 9000 Sunset Blvd., Ste. 800 Los Angeles, CA 90069 310-858-0922 Fax 310-858-0933 E-mail: email@example.com, heidy@lapoltlaw. com, firstname.lastname@example.org Web: www.lapoltlaw.com Contact: Dina LaPolt, Heidy Vaquerano, Sabrina Ment Specialties: All areas relating to music, lm, television, merchandising and book publishing. LEE RUDNICKI, LAW OFFICES OF 9595 Wilshire Blvd., Ste. 900 Beverly Hills, CA 90212 310-300-8407 Fax 310-300-8401 E-mail: email@example.com Web: www.drumlaw80.com Specialty: Music, lm and television LEWIS, BRISBOIS, BISGAARD & SMITH, LLP 333 Bush St., Ste. 1100 San Francisco, CA 914104 415-362-2580, Fax 415-434-0882 E-mail: Haus@lbbslaw.com Web: www.lbbslaw.com Contact: Alan J. Haus Specialties: Entertainment Law *No unsolicited materials LICHTER, GROSSMAN, NICHOLS, ADLER & GOODMAN 9200 Sunset Blvd., Ste. 1200 Los Angeles, CA 90069 310-205-6999 Fax 310-205-6990 *No unsolicited material LOEB & LOEB, LLP 10100 Santa Monica Blvd., Ste. 2200 Los Angeles, CA 90067 310-282-2000 Fax 310-282-2200 Contact: Mickey Mayerson E-mail: firstname.lastname@example.org Web: www.loeb.com Specialty: all areas MANATT, PHELPS & PHILLIPS 11355 W. Olympic Blvd. Los Angeles, CA 90064 310-312-4000 Fax 310-312-4224 E-mail: email@example.com January 2013 www.musicconnection.com 67 Download This Directory From Our Website Web: www.manatt.com Specialty: all areas *No unsolicited material Additional locations: 695 Town Center Dr., 14th Fl. Costa Mesa, CA 92626 714-371-2500 Fax 714-371-2550 1841 Page Mill Rd., Ste. 200 Palo Alto, CA 94304 650-812-1300 Fax 650-213-0260 One Embarcadero Center - 30th Fl. San Francisco, CA 94111 415-291-7400 Fax 415-291-7474 1215 K Street, St., Ste. 1900 Sacramento, CA 95814 916-552-2300 Fax 916-552-2323 MARIO F. GONZALEZ, ESQ. 15332 Antioch St., #573 Paci c Palisades, CA 90272 818-707-3894 E-mail: mario@mgonzalezlaw .com Web: www.mgonzalezlaw.com Specialty: music attorney MARK “ABBA” ABBATTISTA 311 N. Robertson Ave. Ste. 505 Beverly Hills, CA 90211 818-991-7399 E-mail: firstname.lastname@example.org Specialty: all areas *Unsolicited material accepted MARTY O’TOOLE 1999 Ave. of the Stars, Ste. 1100 Los Angeles, CA 90067 310-888-4000 E-mail: email@example.com Web: www.lawofficesofmartyotoole.com Specialty: Contracts, copyright, trademark, demo shopping, negotiation, music video, publishing, band agreements, LLC, litigation *Unsolicited material accepted MAURO FIORE, JR., LAW OFFICE OF 1901 W. Paci c Ave., Ste. 260 W. Covina, CA 91790 626-593-9031, 866-583-9564 Web: www.Fiorelegal.com Additional location: 80 S. Lake Ave., Ste. 710 Pasadena, CA 91101 McLANE & WONG 11135 Weddington St., Ste. 424 North Hollywood, CA 91601 818-587-6801 Fax 818-587-6802 E-mail: firstname.lastname@example.org Web: www.benmclane.com Specialty: Contracts, negotiation *Unsolicited material accepted McPHERSON & ASSOCIATES 1801 Century Park E., 24th Fl. Los Angeles, CA 90067 310-553-8833 Fax 310-553-9233 E-mail: email@example.com Web: www.mcphersonrane.com *No unsolicited material Additional locations: 840 Wainee St., Ste. 104 Lahaina, Maui, HI 92701 808-662-4884 MICHAEL H. GOLLAND Abrams, Gar nkel, Margolis, Bergson, LLP 5900 Wilshire Blvd., Ste. 2250 Los Angeles, CA 90036 310-300-2900 E-mail: firstname.lastname@example.org Web: www.agmblaw.com MICHAEL J. MARONEY, ESQ. 3230 Van Allen Pl. Topanga Canyon, CA 90290 818-592-0477 E-mail: email@example.com Web: www.maroneylaw.com MICHAEL MACHAT 9107 Wilshire Blvd., Ste. 500 Beverly Hills, CA 90210 310-860-1833 Fax 310-860-1837 E-mail: firstname.lastname@example.org Web: www.machatlaw.com Specialty: all areas MICHAEL R. GARDNER 810 E. Commonwealth Ave. Fullerton, CA 92831 714-447-3808 Fax 714-680-0421 *No unsolicited material accepted MICHAEL R. MORRIS Valensi Rose PLC 1888 Century Park E., Ste. 1100 Los Angeles, CA 90067 310-277-8011, Fax 310-277-1706 E-mail: email@example.com Web: www.vrmlaw.com Specialty: Full-service music law, including recording, producer, production company and soundtrack agreements, master use and synchronization licenses; artist and label representation; entertainment tax law *Unsolicited materials on a very selective basis MUSIC ATTORNEY, LEGAL & BUSINESS AFFAIRS REGISTRY 7510 Sunset Blvd., Ste. 1041 Los Angeles, CA 90046-3418 800-552-7411 818-781-1974 E-mail: firstname.lastname@example.org Web: www.musicregistry.com MYMAN, ABELL, FINEMAN, GREENSPAN & LIGHT 11601 Wilshire Blvd., Ste. 2200 Los Angeles, CA 90025 310-231-0800 Web: www.mymangreenspan.com Specialty: all areas *No unsolicited material NEAL TABACHNICK, ESQ. Wolf, Rifkin, Shapiro, Schulman & Rabkin, LLP 11400 W. Olympic Blvd., 9th Fl. Los Angeles, CA 90064-1557 310-478-4100 Fax 310-479-1422 E-mail: email@example.com *Does not shop material O’MELVENY & MYERS 1999 Ave. of the Stars, 7th Fl. Los Angeles, CA 90067 310-553-6700 Fax 310-246-6779 Web: www.omm.com *No unsolicited material Additional location: 400 S. Hope St. Los Angeles, CA 90071-2899 213-430-6000 Fax 213-430-6407 PERKINS COIE 1888 Century Park E, Ste. 1700 Los Angeles, CA 90067-1721 310-788-9900 Fax 310-788-3399 E-mail: RMcintire@perkinscoie.com Web: www.perkinscoie.com Contact: Ronald (Ron) A. McIntire Specialty: Trademark Law, Intellectual Property Additional locations: Four Embarcadero Center, Ste. 2400 San Francisco, CA 94111 415-344-7000 Fax 415-344-7050 E-mail: BSchussman@perkinscoie.com Contact: Barbara J. Schussman 3150 Porter Drive Palo Alto, CA 94304 650-838-4300, Fax 650-838-4350 E-mail: EdWes@perkinscoie.com Contact: Edward (Ed) J. Wes PIERCE LAW GROUP, LLP 9100 Wilshire Blvd., Ste. 225, E. Tower Beverly Hills, CA 90212-3415 310-274-9191 Fax 310-274-9151 E-mail: firstname.lastname@example.org Web: piercelawgroupllp.com Contact: David Albert Pierce Specialty: contracts *No unsolicited material accepted, no shopping. PILLSBURY WINTHROP SHAW PITTMAN, LLP 725 S. Figueroa St., Ste. 2800 Los Angeles, CA 90017 213-488-7100 Fax 213-629-1033 E-mail: email@example.com Web: www.pillsburylaw.com Contact: William S. Waller Specialty: All areas, including intellectual property and technology *No unsolicited material POLK & BERKE Jeff Berke, Esq. www.musicconnection.com/amp 11620 Wilshire Blvd., Ste. 800 Los Angeles, CA 90025 310-235-2009 Fax 310-235-2029 E-mail: firstname.lastname@example.org Contact: Jeff Berke Specialty: Call for more information PROBSTEIN & WEINER & BUTLER 1299 Ocean Ave., Ste. 306 Santa Monica, CA 90401 310-836-1400 Fax 310-836-1420 E-mail: email@example.com Web: www.pwmusiclaw.com *No unsolicited material PROSKAUER, ROSE, LLP 2049 Century Park E. Los Angeles, CA 90067 310-557-2900 Fax 310-557-2193 E-mail: firstname.lastname@example.org Web: www.proskauer.com Contact: Michael A. Woronoff Specialty: practice limited to litigation of commercial and entertainment related disputes *No unsolicited material RANDAL NEAL COHEN 12100 Wilshire Blvd., Ste. 1250 Los Angeles, CA 90025 310-826-8082, 800-718-4658 Fax 310-826-8682 E-mail: Randall@Music-Attorney.com Web: www.music-attorney.com Specialty: all areas except demo shopping. *Unsolicited material accepted REBEL ROY STEINER, JR. Loeb & Loeb LLP 10100 Santa Monica Blvd., Ste. 2200 Los Angeles, CA 90067 310-282-2051 Fax 310-919-3038 E-mail: email@example.com Web: www.loeb.com REED SMITH, LLP 1901 Ave. of the Stars, Ste. 700 Los Angeles, CA 90067 310-734-5200 Fax 310-734-5299 E-mail: firstname.lastname@example.org, ssessa@ reedsmith.com Web: www.reedsmith.com Contact: Fredric W. Ansis or Stephen E. Sessa RICHARD JOSEPH, LAW OFFICES OF 9720 Wilshire Blvd., Ste. 700 Beverly Hills, CA 90212 310-248-2900 E-mail: email@example.com Web: www.rnjlawgroup.com Specialty: All areas of music law. *No unsolicited material ROBERT S. GREENSTEIN, ESQ. Greenstein Law Offices 22911 Crespi St. Woodland Hills, CA 91364 818-225-8917 Fax 818-225-9010 E-mail: firstname.lastname@example.org Web: www.linkedin.com/in/RobertGreenstein Specialty: Full-service entertainment industry business and legal affairs *Please contact the office before submitting any material ROGERS & HARRIS 520 S. Sepulveda, Ste. 204 Los Angeles, CA 90049 310-471-3170 Fax 310-471-3276 E-mail: email@example.com Web: www.rogersandharris.com Contact: Michael Harris Specialty: contracts *No unsolicited material ROHDE & VICTOROFF 1880 Century Park E., Ste. 411 Los Angeles, CA 90067 310-277-1482 Fax 310-277-1485 E-mail: firstname.lastname@example.org Web: www.rohde-victoroff.com Contact: Greg Victoroff Specialty: all areas *Unsolicited material accepted RONALD A. LITZ, LAW OFFICES OF 9255 Sunset Blvd., Ste. 920 Los Angeles, CA 90069-3306 310-201-0100 Fax 310-201-0226 Web: www.ronlitzlaw.com *No unsolicited material ROSENFELD, MEYER & SUSMAN 232 N. Canon Dr., 2nd Fl. Beverly Hills, CA 90210 310-858-7700 Fax 310-860-2430 Web: www.rmslaw.com E-mail: email@example.com *No unsolicited material SALLY KOENIG Koenig Law Offices 606 Hanley Ave. Los Angeles, CA 90049 310-440-9290 E-mail: firstname.lastname@example.org Web: http://www.facebook.com/pages/KoenigLaw-Offices/27383391583 Specialty: Artist and label representation in all areas. Draft and negotiate agreements. *Unsolicited material accepted, email for permission SCHLEIMER & FREUNDLICH, LLP 9401 Wilshire Blvd., Ste. 1250. Beverly Hills, CA 90212 310-273-9807 Fax 310-273-9809 E-mail: email@example.com Web: www.schleimerlaw.com *No unsolicited material SCOTT HARRINGTON, ESQ. Harrington Music Law Group, PC 2001 Wilshire Blvd., Ste. 400 Santa Monica, CA 90403 310-315-9222 Fax 310-315-9225 E-mail: firstname.lastname@example.org SEDGEWICK, DETERT, MORAN & ARNOLD, LLP 801 S. Figueroa St, 19th Fl. Los Angeles, CA 90017 213-426-6900 Fax 213-426-6921 E-mail: email@example.com Web: www.sdma.com Contact: Craig S. Barnes Specialty: Represents clients in US, Canada, Europe and Japan in all areas of music, Internet/digital, TV, radio, content, licensing and distribution SILVER FREEMAN 2029 Century Park E., 19th Fl. Los Angeles, CA 90067 310-282-9448, Fax 310-282-2500 Contact: Barry M. Weisz, Esq E-mail: firstname.lastname@example.org Web: www.silverfreedman.com SINDEE LEVIN, ESQ. 149 S. Barrington Ave. #810 Los Angeles, CA 90049 310-440-8778 Fax 310-440-0059 E-mail: email@example.com, firstname.lastname@example.org Web: www.SindeeLevinMusic.com, www. EntertainmentEstateLawyer.com Specialty: Music & Entertainment Law *No Unsolicited materials accepted SNELL & WILMER Two California Plaza 350 S. Grand Ave., Ste. 2600 213-929-2500, Fax 213-929-2525 E-mail: email@example.com Web: www.swlaw.com Specialty: Intellectual Property Additional location: Plaza Tower 600 Anton Blvd., Ste. 1400 Costa Mesa, CA 92626-7689 714-427-7000 Fax 714-427-7799 STEPHEN E. SESSA, ESQ. Reed Smith, LLP 1901 Ave. of the Stars, Ste. 700 Los Angeles, CA 90067 310-734-5200 Fax 310-734-5299 E-mail: firstname.lastname@example.org Web: www.reedsmith.com Contact: Stephen E. Sessa STEVEN J. FISHER, ESQ. Law Offices of Steven J. Fisher 4607 Lakeview Canyon Rd., Ste. 320 Westlake Village, CA 91361 818-889-9915 Fax 818-889-9916 E-mail: law@stevenj sher.com Web: www.stevenj sher.com *No unsolicited material, e-mail for permission STEVEN R. LOWY ISAACMAN, KAUFMAN & PAINTER, PC MGM Tower 10250 Constellation Blvd., Ste. 2900 Los Angeles, CA 90067 310-881-6800 Fax 310-881-6801 E-mail: email@example.com Web: www.ikplaw.com 68 January 2013 www.musicconnection.com Download This Directory From Our Website TYLER & WILSON, LLP 5455 Wilshire Blvd., Ste. 1925 Los Angeles, CA 90036 323-655-7180 E-mail: firstname.lastname@example.org Contact: Christine J. Wilson Web: www.tyler-law.com Specialty: Music and Business Law TYRE, KAMINS, KATZ, GRANOF & MENES 1880 Century Park E., Ste. 300 Los Angeles, CA 90067-1666 310-553-6822 Fax 310-552-9024 Contact: Paul I. Menes, Barry A. Menes *No unsolicited material WILLIAMS & KILKOWSKI 1900 Ave. of the Stars, 25th Fl. Los Angeles, CA 90067 310-282-8995 Fax 310-282-8930 *No unsolicited material ZIFFREN, BRITTENHAM, BRANCA, FISHER, GILBERT-LAURIE, STIFFELMAN, COOK, JOHNSON & WOLF 1801 Century Park W. Los Angeles, CA 90067 310-552-3388 Fax 310-553-7068 Specialty: all areas *No unsolicited material Web: www.swlaw.com Specialty: Intellectual Property WICK & TRAUTWEIN, LLC #3 Clock Tower Sq. 323 S. College Ave. P.O. Box 2166 Fort Collins, CO 80522 907-237-5694, 866-686-1410 Web: www.wicklaw.com Specialty: Intellectual Property Additional location: 421 Main St. Windsor, CO 85035 866-686-1410 513 Big Thompson Ave. Located in Lower Stanley Village Estes Park, CO 970-586-3505 www.musicconnection.com/amp AMERICAN BAR ASSOCIATION 740 15th St., N.W. Washington, DC 20005-1019 202-662-1000 Additional location: 321 N. Clark St. Chicago, IL 60610 800-285-2221 BERLINER, CORCORAN & ROWE 1101 17th St. N.W., Ste. 1100 Washington, DC 20036 202-293-5555 E-mail: email@example.com Web: www.bcr.us Specialty: Entertainment Law, Copyright Law and Internet Law GARVEY, SCHUBERT & BARER Flour Mill Bldg., 5th Fl. 1000 Potomac St. N.W. 5th Fl. Washington, DC 20007-3501 202-965-7880 Fax 202-965-1729 E-mail: firstname.lastname@example.org Web: www.gsblaw.com Contact: Matthew R. Schneider Specialty: Entertainment Law KATTEN MUCHIN ROSENMAN, LLP 2900 K St. N.W. North Tower, Ste. 200 Washington, DC 20007-5118 202-625-3500 Fax 202-298-7570 E-Mail: email@example.com Web: www.kattenlaw.com Contact: Roger P. Furey LAMPERT & O’CONNOR 1776 K St. N.W., Ste. 700 Washington, DC 20006 202-887-6230 Fax 202-887-6231 E-mail: firstname.lastname@example.org Web: www.lojlaw.com Contact: Donna Lampert Specialty: Entertainment Law MANATT, PHELPS & PHILLIPS 700 12th St., N.W. , Ste. 1100 Washington, DC 20005-4075 202-585-6500 Fax 202-585-6600 Web: www.manatt.com Specialty: all areas PERKINS COIE 700 Thirteenth St., N.W. Washington, DC 20005-3960 202-654-6200 Fax 202-654-6211 E-mail: WMalley@perkinscoie.com Web: www.perkinscoie.com Contact: William G. Malley Specialty: Trademark Law, Intellectual Property PROSKAUER, ROSE, LLP 1001 Pennsylvania Ave., N.W., Ste. 400 S. Washington, DC 20004-2533 202-416-6800 Fax 202-416-6899 E-mail: email@example.com Web: www.proskauer.com Specialty: practice limited to litigation of commercial and entertainment related disputes *No unsolicited material STEPTOE & JOHNSON 1330 Connecticut Ave. N.W. Washington, DC 20036 202-429-3000 Fax 202-261-7537 Web: www.steptoe.com Specialty: Contracts and Intellectual Property VENABLE, LLP 575 7th St., N.W. Washington, DC 20004 202-344-4000 Fax 202-344-8300 Web: www.venable.com Specialty: Intellectual Property Contact: David Bercuson Specialty: specialist in domestic & foreign music licensing and obtaining deals for artists PROSKAUER, ROSE, LLP 2255 Glades Rd., Ste. 421 Atrium Boca Raton, FL 33431-7360 561-241-7400, Fax 561-241-7145 E-mail: firstname.lastname@example.org Web: www.proskauer.com Contact: David Pratt Specialty: practice limited to litigation of commercial and entertainment related disputes *No unsolicited material RICHARD N. FRIEDMAN, LAW OFFICES OF 8925 S.W. 148th St., Ste. 200 Palmetto Bay, FL 33176 305-666-2747 Fax 305-666-2748 Contact: Richard N. Friedman Specialty: Independent Producers, Labels, Musicians, Talent ROMANELLO PROFESSIONAL ASSOCIATION 1560 Sawgrass Corporate Pkwy., 4th Fl. Sunrise, FL 33323 954-331-8020 Fax 954-827-0472 Contact: Steven Romanello Specialty: Entertainment Law, Contracts, Label Shopping, Negotiations CACACE TUSCH & SANTAGATA 777 Summer St. Stamford, CT 06901-1022 203-327-2000 Web: www.lawcts.com Specialty: Intellectual Property GIARNIERO & ASSOCIATES, LLC 972 E. Broadway Stratford, CT 06615 203-375-3994 Fax 203-386-0401 Web: www.giarnierolaw.com Contact: Richard Giarniero Specialty: Intellectual Property OHLANDT GREELEY RUGGIERO & PERLE, LLP One Landmark Sq., 10th Fl. Stamford, CT 06901-2682 203-327-4500 Fax 203-327-6401 E-mail: email@example.com Web: www.ogrp.com Specialty: Intellectual Property ST. ONGE STEWARD JOHNSTON & REENS, LLC 986 Bedford St. Stamford, CT 06905 203-324-6155 Fax 203-327-1096 E-mail: firstname.lastname@example.org Web: www.ssjr.com Specialty: Intellectual Property SUSAN L. MENDE 39 Jaffe Terr. Colchester, CT 06415 860-537-1176 E-mail: email@example.com Contact: Susan L. Mende Specialty: Legal services & actively seeking new clients to manage. No hip-hop please. Connecticut CLINE, WILLIAMS, WRIGHT, JOHNSON & OLDFATHER, LLP 123 N. College Ave., Ste. 300 Fort Collins, CO 80524 970-221-2637 Fax 970-221-2638 Web: www.clinewilliams.com Specialty: Intellectual Property and Technology Law COLSON-QUINN, ATTORNEYS AT LAW 1503 Spruce Boulder, CO 80302 303-447-0975 Fax 303-447-0970 E-mail: Joyce@colsonquinn.com Web: www.colsonquinn.com Contact: Joyce Colsen Specialty: Trademark Law, Intellectual Property HOLLAND & HART 555 Seventeenth St., Ste. 3200 Denver, CO 80202-3979 303-295-8000 Fax 303-295-8261 E-mail: firstname.lastname@example.org Web: www.hollandhart.com Contact: Katherine A. LeVoy Specialty: Intellectual Property KEVIN E. HOUCHIN, ATTORNEY & COUNSELOR AT LAW 520 N. Sherwood, #5 Fort Collins, CO 80521 970-493-1070 Fax 907-214-6808 E-mail: email@example.com Web: www.houchinlaw.com Contact: Kevin E. Houchin Specialty: Consulting for creative people. LEYENDECKER & LEMIRE, LLC 9137 E. Mineral Cir., Ste. 280 Centennial, CO 80112 E-mail: firstname.lastname@example.org Web: www.coloradoiplaw.com Specialty: Copyright Law, Trademark Law, Intellectual Property PERKINS COIE 1900 Sixteenth St., Ste. 1400 Denver, CO 80202-5255 303-291-2300 Fax 303-291-2400 E-mail: LMacphee@perkinscoie.com Web: www.perkinscoie.com Contact: Leonard (Len) H. MacPhee Specialty: Trademark Law, Intellectual Property REPLIN & RHOADES & RATNER, LLC ENTERTAINMENT LAW, LLC 222 Milwaukee St., Ste. 304 Denver, CO 80206 303-322-7919 E-mail: email@example.com, firstname.lastname@example.org, email@example.com Web: www.replinrhoades.com Contact: Steve Replin or Laurie Rhoades, Dave Ratner Specialty: Entertainment Law, Copyright Law, Intellectual Property SNELL & WILMER 1200 Seventeenth St., Ste. 1900 Denver, CO 80202-5854 303-634-2000 Fax 303-634-2020 E-mail: firstname.lastname@example.org Colorado ALAN S. CLARKE, LAW OFFICES OF 3355 Lenox Rd., Ste. 750 Atlanta, GA 30326 404-816-9800 Fax 404-816-0555 E-mail: email@example.com Web: theentertainmentlawgroup.com Contact: Alan Clarke Specialty: Intellectual Property BALSER & GRELL IP LAW, LLC 3330 Cumberland Blvd., Ste. 500 Atlanta, GA 30339 678-202-5990 E-mail: firstname.lastname@example.org Web: www.trwiplaw.com Specialty: Patents, Trademarks, Copywrights HOLLAND & KNIGHT 1201 W. Peachtree St., Ste. 2000 Atlanta, GA 30309 404-817-8500 Fax 404-881-0470 E-mail: email@example.com Web: www.hklaw.com Contact: Robert Highsmith Jr. Specialty: Entertainment Law, Contract Law LOVETTE ENTERTAINMENT LAW GROUP, LTD. 702 Hillpine Drive, NE Atlanta, GA 30306 404-583-4095 E-mail: firstname.lastname@example.org Web: www.lovettegroup.com Contact: Cliff Lovette Specialty: Entertainment Law, Music Law, Film/TV Law, Copyrights MINTER & ASSOCIATES 5398 E. Mountain St. Stone Mountain, GA 30083 770-879-7400 Fax 770-879-5695 E-mail: email@example.com Web: www.kendallminteresq.com Contact: Kendall Minter Specialty: Entertainment Law, Intellectual Property SANDRA L. BROWN, PC, THE LAW OFFICES OF 191 Peachtree St., Ste. 3300 Atlanta, GA 30303 404-946-1850 Fax 404-946-1954 E-mail: firstname.lastname@example.org Web: www.slbpc.com Contact: Sandra L. Brown Specialty: Music law WOODCOCK WASHBURN 1180 Peachtree St., N.E., Ste. 1800 Atlanta, GA 30309-0163 E-mail: email@example.com Web: www.woodcock.com Specialty: Intellectual Property YEMANE CLARKE, ATTORNEY 2221 Peachtree Rd., N.E., Ste. X13 Atlanta, GA 30309 678-274-9097 Web: http://www.clarkelegal.com Contact: Yemane Clarke Specialty: Entertainment Law Georgia FISH & RICHARDSON, PC 222 Delaware Ave., 17th Fl. P.O. Box 1114 Wilmington, DE 19899-1114 302-652-5070 Fax 302-652-0607 E-mail: firstname.lastname@example.org Web: www.fr.com Contact: William J. Marsden, Jr. Specialty: Intellectual Property JEFFREY R. RAMBERG, LAW OFFICE OF 273 E. Main St., Ste. G Newark, DE 19711 302-454-6414 Fax 302-454-6414 E-mail: email@example.com Web: www.ramberglaw rm.com Contact: Jeffrey R. Ramberg Specialty: transactional intellectual property MARKS, O’NEILL, O’BRIEN & COURTNEY 300 Delaware Avenue, Suite 900 Wilmington, DE 19801 302-658-6538 Fax 302-658-6537 E-mail: firstname.lastname@example.org Web: www.mooclaw.com Contact: Dawn Doherty Specialty: Intellectual Property Delaware ADAMS AND REESE, LLP 20 F St. N.W., Ste. 500 S. Washington, DC 20001 202-737-3234, Fax 202-737-0264 E-mail: email@example.com Web: www.adamsandreese.com Specialty: Entertainment Law, Music Law, Intellectual Property District of Columbia (DC) ALLEN L. JACOBI 11077 Biscayne Blvd., Ste. 200 Miami, FL 33161 305-893-2007 E-mail: firstname.lastname@example.org Web: www.pyramidrecords.net Contact: Allen Jacobi Specialty: All entertainment-related services DAVID BERCUSON, PA, LAW OFFICES OF Town Center One, Ste. 1813 8950 Southwest 74 Court Miami, FL 33156 305-670-0018 Fax 305-670-0019 E-mail: DBercuson@aol.com Web: www.bercusonlaw.com Florida January 2013 www.musicconnection.com 69 Download This Directory From Our Website MCPHERSON RANE, LLP 840 Wainee St., Ste. 104 Lahaina, Maui, HI 92761 808-662-4884 E-mail: email@example.com Web: www.mcphersonrane.com GODBEY, GRIFFITHS, REISS, LLLP 1003 Bishop St., Ste. 2300, Pauahi Twr. Honolulu, HI 96813 808-537-1014 Web: www.lawhi.com Specialty: Intellectual Property www.musicconnection.com/amp FOULSTON SIEFKIN, LLP 1551 N. Waterfront Pkwy., Ste. 100 Wichita, KS 67206-4466 316-267-6371, 800-267-6371 Web: www.foulston.com Specialty: Intellectual Property Additional locations: 534 S. Kansas Ave., Ste. 1400 Topeka, KS 66603-3436 785-233-3600 Fax 785-233-1610 32 Corporate Woods, Ste. 600 9225 Indian Creek Pkwy. Overland Park, KS 66210 913-498-2100 Fax 913-498-2101 167 Park Row #1 Brunswick, ME 04011 207-729-1144 Fax 207-729-1140 RUDMAN & WINCHELL, LLC 84 Harlow St. #4 Bangor, ME 04402-1401 207-947-4501 Fax 207-941-9715 Web: www.rudman-winchell.com Specialty: Intellectual Property & Copyright Law Hawaii E-mail: firstname.lastname@example.org Web: www.kattenlaw.com Contact: Vincent A.F. Sergi Specialty: Trademark, Copyright, Entertainment Litigation LINDA S. MENSCH, PC 161 N. Clark St., Ste. 4300 Chicago, IL 60601 312-602-5049 Fax 312-698-7449 E-mail: email@example.com Web: www.menschlaw.com Contact: Linda Mensch Specialty: Entertainment Law LOEB & LOEB, LLP 321 N. Clark, Ste. 2300 Chicago, IL 60654 312-464-3100 Fax 312-464-3111 E-mail: firstname.lastname@example.org Web: www.loeb.com Specialty: all areas PERKINS COIE 131 S. Dearborn St., Ste. 1700 Chicago, IL 60603-5559 312-324-8400 Fax 312-324-9400 E-mail: CWilson@perkinscoie.com Web: www.perkinscoie.com Contact: Christopher (Chris) B. Wilson Specialty: Trademark Law, Intellectual Property SMITH AMUNDSEN, LLC 150 N. Michigan Ave., Ste. 3300 Chicago, IL 60601 312-894-3358 Fax 312-894-3210 E-mail: Brosenblatt@salawus.com Web: www.salawus.com Contact: Brian Rosenblatt Specialty: Ent., Media, Privacy, and Intellectual Property DYKAS, SHAVER & NIPPER, LLP 1403 W. Franklin St. Boise, ID 83702-5024 208-345-1122, 877-611-1122 E-mail: email@example.com Web: www.dykaslaw.com Specialty: Intellectual Property & Litigation HAWLEY, TROXELL, ENNIS & HAWLEY, LLP 877 Main St., Ste. 1000 Boise, ID 83702 208-344-6000 E-mail: firstname.lastname@example.org Web: www.hawleytroxell.com Specialty: Intellectual Property Additional locations: 401 Front St., Ste. 212 Coeur d’Alene, ID 83814 208-765-7693 333 S. Main St. Pocatello, ID 83204 208-233-0845 PEDERSEN AND COMPANY, PLLC 1410 N. 28th St. Boise, ID 83703 208-343-6355 Fax 208-343-6341 E-mail: email@example.com Web: www.pedersenco.com Contact: Ken J. Pedersen or Barbara S. Pedersen Specialty: Intellectual Property PERKINS COIE 111 W. Jefferson St., Ste. 500 Boise, ID 83702-5391 208-343-3434 Fax 208-343-3232 E-mail: RMaynard@perkinscoie.com Web: www.perkinscoie.com Contact: Robert A. Maynard Specialty: Trademark Law, Intellectual Property ZARIAN, MIDGLEY & JOHNSON, PLLC 960 Broadway Ave., Ste. 250 Boise, ID 83706 208-562-4900 Fax 208-562-4901 E-mail: firstname.lastname@example.org Web: www.zarianmidgley.com Contact: Dana M. Herberholz Specialty: Intellectual Property Litigation, Patents, Trademarks & Copyrights Idaho BINGHAM, GREENBAUM, DOLL, LLP 3500 National City Twr. 101 S. Fifth St. Louisville, KY 40202-3140 502-589-4200 Fax 502-587-3695 Web: www.greenebaum.com Specialty: Intellectual Property Additional location: 300 W. Vine St., Ste. 1100 Lexington, KY 40507-1622 859-231-8500 Fax 859-255-2742 LYNCH, COX, GILMAN & GOODMAN 500 W. Jefferson St., Ste. 2100 Louisville, KY 40202 502-589-4215 E-mail: email@example.com Web: www.lynchcoxlaw.com Specialty: Intellectual Property MIDDLETON REUTLINGER 401 S. Fourth St. , Ste. 2600 Louisville, KY 40202 502-584-1135 E-mail: firstname.lastname@example.org Web: www.middreut.com Contact: Lisa Brones Huber Specialty: Intellectual Property Kentucky CHARLES JEROME WARE, PA 10630 Little Patuxent Pkwy., Ste. 113 1000 Century Plaza Building Columbia, MD 21044 410-730-5016, 410-720-6129 Fax 410-730-7603 E-mail: email@example.com Web: www.charlesjeromeware.com *No unsolicited material LARRY J. GUFFEY 401 E. Pratt St., Ste. 1800 Baltimore, MD 21202 410-659-9550 Fax 410-659-9549 E-mail: larry@GuffeyLaw.com Web: www.guffeylaw.com Specialty: Intellectual Property, Trademark & Patents MARKS, O’NEILL, O’BRIEN & COURTNEY 600 Baltimore Ave., Ste. 305 Towson, MD 21204 410-339-6880 Fax 410-339-6881 E-mail: firstname.lastname@example.org Web: www.mooclaw.com Contact: Michael T. Hamilton Specialty: Intellectual Property MARYLAND VOLUNTEER LAWYERS SERVICE One N. Charles St., Ste. 222 Baltimore, MD 21201 410-547-6537 800-510-0050 E-mail: email@example.com Web: www.mvlslaw.org VENABLE, LLP 750 E. Pratt St., Ste. 900 Baltimore, MD 21202 410-244-7400 Fax 410-244-7742 Web: www.venable.com Specialty: Intellectual Property Additional location: One Church St., 5th Fl. Rockville, MD 20850 301-217-5600 Fax 301-217-5617 Maryland BARNES & THORNBURG, LLP 11 S. Meridian St. Indianapolis, IN 46204-3535 317-236-1313 Fax 317-231-7433 E-mail: firstname.lastname@example.org Web: www.btlaw.com Contact: Robert T. Grand Specialty: Intellectual Property BENESCH ATTORNEYS AT LAW One American Sq., Ste. 2300 Indianapolis, IN 46282 317-632-3232 Fax 317-632-2962 Web: www.beneschlaw.com Specialty: Intellectual Property LEWIS & KAPPES, PC One American Sq., Ste. 2500 Indianapolis, IN 46282-0003 317-639-1210 Fax 317-639-4882 Web: www.lewis-kappes.com Contact: Dave S. Klinestiver Specialty: Intellectual Property Additional location: 1630 W. Oak St. Zionsville, IN 46077 317-733-1140 Fax 317-733-1364 Indiana ADAMS AND REESE, LLP One Shell Sq. 701 Poydras St., Ste. 4500 New Orleans, LA 70139 504-581-3234 E-mail: email@example.com Web: www.adamsandreese.com Contact: E. Paige Sensenbrenner Specialty: Entertainment Law, Music Law, Intellectual Property Additional location: 450 Laurel St., Ste. 1900 Baton Rouge, LA 70801 225-336-5200 E-mail: firstname.lastname@example.org Contact: V. Thomas Clark, Jr. EVELINE, DAVIS & PHILLIPS 5811 Tchoupitoulas St. New Orleans, LA 70115 504-782-8803 E-mail: email@example.com Web: www.nolaentertainmentlaw.com Contact: Ashlye M. Keaton, Esq. Specialty: Entertainment Law, Copyright Law, Trademark Law MICHAEL D. ALLDAY 830 Union St., Ste. 301 New Orleans, LA 70112 504-528-2828 Fax 504-581-7083 E-mail: firstname.lastname@example.org Web: www.allday-law.com Contact: Michael D. Allday Specialty: Music Law, Entertainment Law Louisiana ADLER, POLLOCK & SHEEHAN, PC 175 Federal St. 10th Fl. Boston, MA 02110-2210 617-482-0600 Fax 617-482-0604 Web: www.apslaw.com Specialty: Intellectual Property BINGHAM One Federal St. Boston, MA 02110-1726 617-951-8000 E-mail: email@example.com Web: www.bingham.com Specialty: Telecommunications, Media and Technology BURNS & LEVINSON, LLP 125 Summer St. Boston, MA 02110 617-345-3000 Fax 617-345-3299 E-mail: firstname.lastname@example.org Web: www.burnslev.com Contact: Susan E. Stenger Specialty: Music Law, Litigation CESARI & MCKENNA, LLP 88 Black Falcon Ave. Boston, MA 02210 617-951-2500 Fax 617-951-3927 Web: www.c-m.com Specialty: Intellectual Property DAVID HERLIHY, LAW OFFICES OF E-mail: email@example.com Web: www.herlihylaw.com Contact: David Herlihy Specialty: Entertainment Law PATTI JONES, ATTORNEY AT LAW 20 Park Plaza Boston, MA 02116 617-948-2139 Fax 617-948-2501 E-mail: firstname.lastname@example.org Massachusetts ENTERTAINMENT LAW OFFICE OF PC 208 S. LaSalle #1400 Chicago, IL 60604 312-641-5300 Fax 312-641-5301 E-mail: email@example.com Web: www.www.ent-law.net Contact: Hillel Frankel Specialty: Intellectual Property Rights GOLDBERG GROUP, THE 1 North eld Plaza, Ste. 300 North eld, IL 60093 773-388-2784 Fax 773-828-8008 E-mail: firstname.lastname@example.org Web: www.goldberggrouplaw.com Contact: Phil Goldberg Specialty: Entertainment Law JAY B. ROSS & ASSOCIATES, PC 840 W. Grand Ave. Chicago, IL 60642-6565 312-633-9000 E-mail: Jay@jaybross.com Web: www.jaybross.com Contact: Jay B. Ross Specialty: Entertainment Law KATTEN, MUCHIN & ROSENMAN 525 W. Monroe St. Chicago, IL 60661 312-902-5200 Fax 312-902-1061 Illinois MCKEE, VOORHEES & SEASE, PLC 801 Grand Ave., Ste. 3200 Des Moines, IA 50309-2721 515-288-3667 Fax 515-288-1338 E-mail: email@example.com Web: www.ipmvs.com Contact: Ed Sease Specialty: Intellectual Property ZARLEY LAW FIRM, PLC Capital Sq. 400 Locust St., Ste. 200 Des Moines, IA, 50309-2350 515-558-0200 Fax 515-558-7790 E-mail: firstname.lastname@example.org Web: www.zarleylaw.com Specialty: Intellectual Property Iowa FLEESON, GOOING, COULSON & KITCH, LLC 1900 Epic Ctr. 301 N. Main St. Wichita, KS 67202 316-267-7361 E-mail: eeson@ eeson.com Web: www. eeson.com Specialty: Intellectual Property Kansas EATON PEABODY, PA 80 Exchange St. Bangor, ME 04401 207-947-0111 Fax 207-942-3040 Web: www.eatonpeabody.com Specialty: Intellectual Property Additional locations: 77 Sewall St., Ste. 3000 Augusta, ME 04330 207-622-3747 Fax 207-622-9732 Maine 70 January 2013 www.musicconnection.com Download This Directory From Our Website Web: www.pattijones.com Contact: Patti Jones Specialty: music, literary publishing, media and independent lm PROSKAUER, ROSE, LLP One International Pl., 14th Fl. Boston, MA 02110-2600 617-526-9600 E-mail: email@example.com Web: www.proskauer.com Contact: Joseph A. Capraro, Jr. Specialty: practice limited to litigation of commercial and entertainment related disputes *No unsolicited material RISSMAN, JOBSE, HENDRICKS & OLIVERIO, LLP Saltonstall Building 100 Cambridge St., Ste. 2101 Boston, MA 02114 617-367-4600 Fax 617-367-4656 E-mail: firstname.lastname@example.org Web: www.rjholaw.com Specialty: Intellectual Property WOLF, GREENFIELD & SACKS, PC 600 Atlantic Ave. Boston, MA 02210-2206 617-646-8000 Fax 617-646-8646 E-mail: info@wolfgreen eld.com Web: www.wolfgreen eld.com Contact: Sara Crocker, Director of Client Services Specialty: Intellectual Property Web: www.reising.com Specialty: Intellectual Property Law www.musicconnection.com/amp Web: www.teaselaw.com Contact: Antoinette M. Tease Specialty: Intellectual Property and Technology Law CROWLEY, FLECK, LLP 490 N. 31st St., Ste. 500 Billings, MT 59101 406-252-3441 Fax 406-256-8526 Web: www.crowleylaw.com Contact: Joe Kresslein DORSEY & WHITNEY, LLP 125 Bank St., Ste. 600 Missoula, MT 59802-4407 406-721-6025 866-770-7104 E-mail: email@example.com Web: www.dorsey.com Contact: Jack Manning Specialty: Intellectual Property WORDEN THANE, PC 111 N. Higgins, Ste. 600 P.O. Box 4747 Missoula, MT 59806 406-721-3400 800-337-3567 Web: www.wthlaw.net Contact: Worden Thane Specialty: Intellectual Property Las Vegas, NV 89135 702-636-4902 Fax 702-636-4904 E-mail: firstname.lastname@example.org Web: www.watsonrounds.com Specialty: Intellectual Property Additional location: 5371 Kietzke Ln. Reno, NV 89511 775-324-4100 E-mail: email@example.com WEIDE & MILLER, LTD 7251 W. Lake Mead Blvd., Ste. 530 Las Vegas, NV 89128 702-382-4804 Fax 702-382-4805 Web: www.weidemiller.com Specialty: Intellectual property and technology law DORSEY & WHITNEY, LLP 50 S. Sixth St., Ste. 1500 Minneapolis, MN 55402-1498 612-340-2600 Fax 612-340-2868 E-mail: Minneapolis@dorsey.com Web: www.dorsey.com Contact: Robert A. Rosenbaum Specialty: Intellectual Property ERIC D. BULL, ATTY. 126 N 3rd St. Ste. 415 Minneapolis, MN 55401 612-354-3644 Fax 612-354-3645 Web: www.ebull-law.com Contact: Eric Bull Specialty: Specializes in Indie artists LOMMEN ABDO COLE KING & STAGEBERG 2000 IDS Ctr., 80 S. Eight St. Minneapolis, MN 55402 800-752-4297 612-339-8131 Fax 612-339-8064 E-mail: firstname.lastname@example.org Web: www.lommen.com Contact: Ken Abdo Specialty: Music Law, Entertainment Law PATTERSON THUENTE, IP 4800 IDS Center 80 S. 8th St. Minneapolis, MN 55402-2100 612-349-5740, 800-4537-4537 E-mail: email@example.com Contact: Aaron Davis Web: www.ptslaw.com Specialty: Intellectual Property, Litigation, Arts & Entertainment Law Minnesota DYKMA 400 Renaissance Ctr. Detroit, MI 48243 313-568-6800 Fax 313-568-6893 E-mail: firstname.lastname@example.org Web: www.dykema.com Contact: Sherrie Farrell Specialty: Intellectual Property Additional location: 2723 S. State St., Ste. 400 Ann Arbor, MI 48104 734-214-7660 Fax 734-214-7696 E-mail: email@example.com Contact: James Cameron FOLEY & LARDER, LLP One Detroit Ctr. 500 Woodward Ave., Ste. 2700 Detroit, MI 48226-3489 313-234-7100 Fax 313-234-2800 Web: www.foley.com Specialty: Intellectual Property HERTZ SCHRAM 1760 S. Telegraph Rd., Ste. 300 Bloom eld Hills, MI 48302 248-494-4486. 866-775-5987 Web: www.hertzschram.com Contact: Howard Hertz Specialty: Entertainment Law, Contracts, Litigation HONIGMAN MILLER SCHWARTZ & COHN, LLP 2290 First National Bldg. 660 Woodward Ave. Detroit, MI 48226 313-465-7000 Fax 313-465-8000 Web: www.honigman.com Specialty: Intellectual Property Additional location: 222 N. Washington Sq., Ste. 400 Lansing, MI 48933 Contact: Kenneth Brooks E-mail: firstname.lastname@example.org 517-484-8282 Fax 517-482-8286 JAFFE, RAITT, HEUER & WEISS 500 Griswold, Ste. 2400 Detroit, MI 48226 313-961-1200 Web: www.jaffelaw.com Specialty: Intellectual Property Additional location: 27777 Franklin Rd., Ste. 2500 South eld, MI 48034 248-351-3000 REISING, ETHINGTON, PC 755 West Big Beaver Rd., Ste. 1850 Troy, MI 48084 248-689-3500 Fax 248-689-4071 E-mail: email@example.com Contact: Steven L. Permut Michigan ABRAHAMS, KASLOW & CASSMAN, LLP 8712 W. Dodge Rd., Ste. 300 Omaha, NE 68114 402-392-1250 Fax 402-392-0816 E-mail: firstname.lastname@example.org Web: www.akclaw.com Specialty: Intellectual Property CLINE, WILLIAMS, WRIGHT, JOHNSON & OLDFATHER, LLP 1125 S. 103rd St., Ste. 600 Omaha, NE 68124 402-397-1700 Fax 402-397-1806 E-mail: email@example.com Web: www.clinewilliams.com Contact: John C. Miles Specialty: Intellectual Property and Technology Law Additional location: 1900 U.S. Bank Bldg. 233 S. 13th St. Lincoln, NE 68508 402-474-6900 KUTAK ROCK, LLP The Omaha Building 1650 Farnam St. Omaha, NE 68102-2186 402-346-6000 Fax 402-346-1148 Web: www.kutakrock.com Specialty: Intellectual Property PARSONAGE VANDENACK WILLIAMS, LLC 5332 S. 138th St., Ste. 100 Omaha, NE 68137-2974 402-504-1300 Fax 402-504-1935 Web: www.pvwlaw.com Contact: Mark A.Williams Specialty: Intellectual Property, Trademarks & Copyrights Nebraska GALLAGHER, CALLAHAN & GARTRELL, PC 214 N. Main St. P.O. Box 1415 Concord, NH 03302-1415 603-228-1181 800-528-1181 Web: www.gcglaw.com Specialty: Intellectual property MAINE, CERNOTA & RARDIN 547 Amherst St., 3rd Fl. Nashus, NH 03063-4000 603-886-6100 E-mail: firstname.lastname@example.org Web: www.mcr-ip.com Specialty: Intellectual property SHAHEEN & GORDON, PA 80 Merrimack St. Manchester, NH 03101 603-669-8080, 800-343-1263 Web: www.shaheengordon.com Specialty: Trademark, Copyrights Additional locations: P.O. Box 2703 107 Storrs St. Concord, NH 03302 603-225-7262 800-281-4411 P.O. Box 977 140 Washington St., 2nd Fl. Dover, NH 03821-0977 603-749-5000 800-451-1002 New Hampshire ADAMS AND REESE, LLP 300 Renaissance 1018 Highland Colony Pkwy., Ste. 800 Ridgeland, MS 39157 601-353-3234 Fax 601-355-9708 E-mail: email@example.com Web: www.adamsandreese.com Contact: John S. Hooks Specialty: Entertainment Law, Music Law, Intellectual Property Mississippi HUSCH BLACKWELL 4801 Maine St., Ste. 1000 Kansas City, MO 64112 816-983-8000 Fax 816-983-8080 E-mail: firstname.lastname@example.org Web: www.huschblackwell.com Contact: Benjamin Mann Specialty: Media & Creative Arts Additional location: The Plaza in Clayton 190 Carondelet Plaza, Ste. 600 St. Louis, MO 63105 314-480-1500 Fax 314-480-1505 E-mail: email@example.com Web: www.huschblackwell.com Contact: Carrie Hermeling Specialty: Copyrights to Publishing, Band Names to Merchandising LATHROP & GAGE, LC 7701 Forsyth Blvd., Ste. 500 Clayton, MO 63105 314-613-2800 Fax 314-613-2801 E-mail: firstname.lastname@example.org Web: www.lathropgage.com Contact: Scott Malin Specialty: Entertainment Law SPENCER, FANE, BRITT & BROWNE 1 N. Brentwood Blvd., Ste. 1000 St. Louis, MO 63105 314-863-7733 Fax 314-862-4656 E-mail: email@example.com Web: www.spencerfane.com Specialty: Entertainment Law, Intellectual Property Missouri MARKS, O’NEILL, O’BRIEN & COURTNEY 6981 N. Park Dr., Ste. 300 Pennsauken, NJ 08109 856-663-4300 Fax 856-663-4439 E-mail: firstname.lastname@example.org Web: www.mooclaw.com Contact: Sean X. Kelly Specialty: Intellectual Property MCCARTER & ENGLISH, LLP 100 Mulberry St. Newark, NJ 07102 973-622-444 Fax 973-624-7070 E-mail: email@example.com Web: www.mccarter.com Specialty: Litigation, Intellectual Property, Trademark, Copyright, Contracts PAUL B. UNGAR 16 Monmouth Ave. Edison, NJ 08820 732-906-2061 Fax 732-906-2081 E-mail: firstname.lastname@example.org Web: www.paulbungar.com Contact: Paul Ungar Specialty: Entertainment Law, Intellectual Property, Trademark, Copyright PROSKAUER, ROSE, LLP One Newark Center Newark, NJ 07102 973-274-3200 E-mail: Lsandak@proskauer.com Web: www.proskauer.com Contact: Lawrence R. Sandak Specialty: practice limited to litigation of commercial and entertainment related disputes *No unsolicited material New Jersey GREENBERG, TRAURIG 3773 Howard Hughes Pkwy., Ste. 400 N. Las Vegas, NV 89169 702-792-3773 Fax 702-792-9002 Web: www.gtlaw.com Specialty: Entertainment and intellectual properties PHILIP A. KANTOR, PC, LAW OFFICES OF 1781 Village Center Cir., Ste. 120 Las Vegas, NV 89134 702-255-1300, 888-575-2295 Web: www.thekantorlaw rm.com Specialty: Intellectual Property SNELL & WILMER 3883 Howard Hughes Pkwy., Ste. 1100 Las Vegas, NV 89169-5958 702-784-5200 Fax 702-784-5252 E-mail: email@example.com Web: www.swlaw.com Specialty: Intellectual Property Additional location: Nevada ANTOINETTE M. TEASE, PLLC 175 N. 27th St, Ste. 1206 Billings, MT 59101 406-294-9000, 406-591-3689 E-mail: firstname.lastname@example.org Montana 6100 Neil Rd., Ste. 555 Reno, NV 89511 775-829-6000 Fax 775-829-6001 WATSON ROUNDS 10000 W. Charleston Blvd., Ste. 240 DAVID CARLSON SMITH, PC 215 Lincoln Ave., Ste. 105 Santa Fe, NM 87501 505-988-8868 Fax 505-988-2746 Contact: David Carlson Smith Web: www.davidcarlsonsmithlaw.com New Mexico January 2013 www.musicconnection.com 71 Download This Directory From Our Website Specialty: Entertainment Law, Copyright, Trademark Law LEWIS AND ROCCA, LLP 201 Third St. N.W., Ste. 1950 Albuquerque, NM 87102 505-764-5400 Fax 505-764-5480 E-mail: RCcrown@LRlaw.com Web: www.lrlaw.com Contact: Ross Crown Specialty: Intellectual Property, Trademarks & Copyrights 212-415-9200 800-250-4811 E-mail: email@example.com Web: www.dorsey.com Contact: Robert J. Dwyer, Jr. Specialty: Intellectual Property EDWARD M. KELMAN, ATTORNEY AT LAW 100 Park Ave., 20th Fl. New York, NY 10017 212-371-9490 Fax 212-750-1356 E-mail: firstname.lastname@example.org Contact: Edward Kelman Specialty: Music Law, Entertainment Law FAIRBANKS-FLETCHER, PLLC P.O.Box 4760 Saratoga Springs, NY 12866 518-581-8600 Web: www.fairbanks etcherlaw.com Contact: Elizabeth Fletcher Specialty: Film, TV, and home video, record distribution and music publishing GARVEY, SCHUBERT & BARER 100 Wall St., 20th Fl. New York, NY 10005-3708 212-431-8700 Fax 212-334-1278 E-mail: email@example.com Web: www.gsblaw.com Contact: Matthew R. Schneider Specialty: Entertainment Law GEORGE T. GILBERT ATTORNEY AT LAW 826 Broadway, Fourth Fl. New York, NY 10003 212-677-5891 Fax 212-677-5893 E-mail: firstname.lastname@example.org; Skype: musicesq AIM: ggilbert54 Web: www.linkedin.com/in/georgegilbert Specialty: Intellectual Property, Entertainment law with focus on the music industry GEORGE STEIN, LAW OFFICES OF 270 Madison Ave., Ste. 1410 New York, NY 10016 212-683-5320 Fax 212-686-2182 E-mail: email@example.com Web: www.georgesteinlaw.com Contact: George Stein Specialty: Entertainment Law, Music Law, Copyrights GOTTLIEB, RACKMAN & REISMAN 270 Madison Ave., 8th Fl. New York, NY 10016 212-684-3900 Fax 212-684-3999 E-mail: firstname.lastname@example.org Web: www.grr.com Contact: Barry A. Cooper Specialty: Entertainment Law Additional location: 1225 Franklin Ave. Garden City, NY 11530 516-495-7924 Fax 516-873-8881 GREENBERG TRAURIG Met Life Bldg. 200 Park Ave. New York, NY 10166 212-801-9200 Fax 212-801-6400 Web: www.gtlaw.com Specialty: Music Law & Entertainment Law HEYMAN LAW 26 Perry St., Ste. 4-A New York, NY 10014 212-414-9522 E-mail: email@example.com Web: www.heylaw.com Specialty: Entertainment Law, Copyright, Trademark, New Media JEFFREY GANDEL, LAW OFFICES OF 1623 3rd Ave., Ste. 22A New York, NY 10128 212-289-0709 Fax 212-289-0686 E-mail: firstname.lastname@example.org Web: www.gandellaw.com Contact: Jeffrey Gandel Specialty: Music Law, Film Law, Litigation JOEL BROOKS 265 S. Service Rd., Ste. 240 Jericho, NY 11753 516-338-0533 Contact: Joel Brooks Specialty: Music Law JEKIELKE 7 JANIS LLP 295 Madison Ave., 22nd Fl. New York, NY 10017 212-686-7008 Fax 212-686-7113 Web: www.jekieleklaw.com Contact: Jon Jekielek Specialty: Entertainment Law www.musicconnection.com/amp KATTEN, MUCHIN & ROSENMAN 575 Madison Ave. New York, NY 10022 212-940-8800 Fax 212-940-8776 E-mail: email@example.com Web: www.kattenlaw.com Contact: Henry Bregstein Specialty: Entertainment Law KIA LAW FIRM 234 5th Ave., Ste. 405 New York, NY 10001 212-679-4200 Fax 212-679-4155 E-mail: info@kialaw rm.com Web: www.kialaw rm.com Specialty: Entertainment Law LAWRENCE LIGHTER, LAW OFFICES OF 488 Madison Ave., 8th Fl. New York, NY 10022 212-371-8730 Fax 212-753-3630 E-mail: firstname.lastname@example.org Contact: Lawrence Lighter Specialty: Intellectual Property LEVINSOHN ASSOCIATES, P.C. 1790 Broadway, 10th Fl. New York, NY 10019 212-262-1000 E-Mail: assistant@entlaw rm.com Web: www.entlaw rm.com Specialty: I.P. and Copyright LOEB & LOEB, LLP 345 Park Ave. New York, NY 10154-1895 212-407-4000 Fax 212-407-4990 E-mail: email@example.com Web: www.loeb.com Specialty: all areas LOMMEN ABDO COLE KING & STAGEBERG 133 W. 25th St., 5th Fl. New York, NY 10001 212-683-8775 800-752-4297 E-mail: firstname.lastname@example.org Web: www.lommen.com Contact: Bob Donnelly Specialty: Music Law MANATT, PHELPS & PHILLIPS 7 Times Sq. New York, NY 10036 212-790-4500 Fax 212-790-4545 Web: www.manatt.com Specialty: all areas Additional location: 30 S. Pearl St., 12th Fl. Albany, NY 12207 518-431-6700 Fax 518-431-6767 MARVIN KATZ, LAW OFFICES OF 410 Park Ave., Ste. 1530 New York, NY 10022 212-486-6001 Fax 212-486-4608 E-mail: email@example.com Web: www.mkatzlaw.net Contact: Marvin Katz Specialty: Contracts, Mergers, Acquisitions, Music Publishing MATTHEW L. KLETTER Law Office of Matthew L. Kletter, PLLC 31 Mamaroneck Ave., Ste. 154 White Plans, NY 10601 914-681-5191, Cell 914-844-5766 Fax 914-206-3561 E-mail: firstname.lastname@example.org Web: www.linkedin.com/in/mkletter Contact: Matthew Kletter Specialty: Entertainment Law MELONI & MCCAFFREY, PC 1515 Broadway, 11th Fl. New York, NY 10036 212-520-6089 E-mail: email@example.com Web: www.robertmeloni.com Contact: Robert S. Meloni Specialty: Entertainment & I.P. Litigation PELOSI, WOLF, EFFRON & SPATES 233 Broadway, 22nd Fl. New York, NY 10279 212-334-4801 Fax 212-571-9149 Web: www.pwes.com Contact: John Pelosi Specialty: Entertainment Law, Music Law, Intellectual Property PERKINS COIE 30 Rockefeller Plaza, 25th Floor New York, NY 10112 212-262-6900, Fax 212-977-1649 E-mail: SCarroll@perkinscoie.com Web: www.perkinscoie.com Contact: Schuyler G. Carroll Specialty: Trademark Law, Intellectual Property PETER M. THALL, LAW OFFICES OF 10 W. End Ave., Ste. 7K New York, NY 10023 212-245-6221 Fax 212-245-6406 E-mail: firstname.lastname@example.org Web: www.theallenlaw.com Contact: Peter Thall Specialty: Music Law, Entertainment Law, Internet Law PROSKAUER, ROSE, LLP Eleven Times Square New York, NY 10036-8299 212-969-3000 Web: www.proskauer.com Specialty: practice limited to litigation of commercial and entertainment related disputes *No unsolicited material PRYOR, CASHMAN, LLP 7 Times Square New York, NY 10036 212-421-4100 Fax 212-326-0806 E-mail: email@example.com Web: www.pryorcashman.com Contact: James A. Janowitz Specialty: Entertainment Law, Intellectual Property RANDALL M. CUTLER, ESQ. 10 Westway Bronxville, NY 10708 601-783-6656 Fax 914-779-1213 E-mail: firstname.lastname@example.org Contact: Randall M. Cutler, Esq. Specialty: Entertainment Law REDENTE LAW, PLLC 305 Broadway, Ste. 804 New York, NY 10007 646-678-1581 E-mail: email@example.com Web: www.redentelaw.com Contact: Gary Redente Specialty: Entertainment Law RITHOLZ LEVY SANDERS CHIDEKEL & FIELDS, LLP 235 Park Ave. S., 3rd Fl. New York, NY 10003 212-448-1800 E-mail: firstname.lastname@example.org Web: www.rlscf.com Specialty: Entertainment Law Additional location: 2029 Century Park E., 19th Fl. Los Angeles, CA 90067 310-282-9449 ROBERT A. CELESTIN, ESQ. 250 W. 57th St., Ste. 2331 New York, NY 10107 212-262-1103 Web: www.raclaw rm.com Contact: Robert A. Celestin Specialty: Entertainment Law ROBINSON BROG LEINWAND GREENE GENOVESE AND GLUCK, PC 875 Third Ave. New York, NY 10022 212-603-6300, 800-431-1473 Web: www.robinsonbrog.com Specialty: Entertainment Law, Music Law, Indie Label Consulting, Contracts RUBIN, BAILIN, LLP 501 Madison Ave. New York, NY 10022 212-935-0900 Fax 212-826-9307 E-mail: email@example.com Contact: Marc Bailin Specialty: Music Law, Entertainment Law SELVERNE & CO, PLLC 83 Riverside Dr. New York, NY 10024 212-259-3900 Fax 888-709-8533 E-mail: firstname.lastname@example.org Web: www.selverne.com Contact: Michael Selverne Specialty: Corporate transactions related to Entertainment/Talent representation SENDROFF & BARUCH, LLP 1500 Broadway, Ste. 2001 New York, NY 10036 212-840-6400 Fax 212-840-6401 E-mail: email@example.com ARTHER LAW FIRM, THE 1221 Avenue of Americas, 42nd Fl. New York, NY 10020-1001 888-520-4529, 212-713-0138 Web: www.artherlaw.com Contact: Anthony Arther Specialty: Free Consultation, Demo & Deal Shopping, Music, Film & Fashion matters Additional location: 670 Franklin Ave. Brooklyn, NY 11238 ASSOCIATION OF THE BAR OF THE CITY OF N.Y. 42 W. 44th St. New York, NY 10036 212-626-7373 Web: www.ilawyer.com BELDOCK, LEVINE & HOFFMAN 99 Park Ave., Ste. 1600 New York, NY 10016 212-490-0400 800-275-4977 E-mail: firstname.lastname@example.org Web: www.blhny.com Contact: Peter Matorin Specialty: Entertainment Law, Intellectual Property BINGHAM 399 Park Ave. New York, NY 10022 212-705-7000 E-mail: email@example.com Web: www.bingham.com Contact: Scott T. Bluni CARROLL, GUIDO & GROFFMAN, LLP 1790 Broadway, 20th Fl. New York, NY 10019 212-759-2300 Fax 212-759-9556 Specialty: all areas *No unsolicited material CHRISTOPHER HOYT, ESQ. The Hoyt Law Group, LLC Empire State Building 350 Fifth Ave., Ste. 7315 New York, NY 10118 212-268-3414 Fax 212-629-8691 E-mail: firstname.lastname@example.org Web: www.cwhesq.com Specialty: Entertainment and Business Law *No unsolicited material CODISPOTI & MANCINELLI, LAW OFFICES OF 111 John St., Ste. 800 New York, NY 10038 212-962-6525 Fax 212-962-6791 E-mail: email@example.com Web: www.codispotilaw.com Contact: Bruno Codispoti Specialty: Entertainment Law COWAN, DEBAETS, ABRAHAMS & SHEPPARD, LLP 41 Madison Ave., 34th Fl. New York, NY 10010 212-974-7474 Fax 212-974-8474 E-mail: firstname.lastname@example.org Web: www.cdas.com Contact: Robert Siegel Specialty: Entertainment Law Additional location: 9595 Wilshire Blvd., Ste. 900 Beverly Hills, CA 90212 DAVIS WRIGHT TREMAINE, LLP 1633 Broadway, 27th Fl. New York, NY 10019-6708 212-489-8230 Fax 212-489-8340 E-mail: email@example.com Web: www.dwt.com Specialty: Entertainment Law DORSEY & WHITNEY, LLP 51 West 52nd St. New York, NY 10019-6119 New York 72 January 2013 www.musicconnection.com Download This Directory From Our Website Web: www.sendroff.com Contact: Mark Sendroff Specialty: Entertainment Law SERLING, ROOKS, FERRARA, MCCKOY & WOROB, LLP 119 5th Ave., 3rd Fl. New York, NY 10003 212-245-7300 Fax 212-586-5175 E-mail: jls@sr lp.com Web: www.sr ip.com Contact: Joseph Lloyd Serling Specialty: Entertainment Law, Music Law SHUKAT ARROW HAFER WEBER & HERBSMAN, LLP 111 W. 57th St., Ste. 1120 New York, NY 10019 212-245-4580 Fax 212-956-6471 E-mail: firstname.lastname@example.org Web: www.musiclaw.com Contact: Jonas Herbsman Specialty: Entertainment Law, Copyrights, Contracts SLOSS ECKHOUSE BRENNAN LAW CO 555 W 25th St. 4th Fl. New York, NY 10001 212-627-9898 Fax 212-627-9498 E-mail: email@example.com Web: www.slosslaw.com Contact: Josh Grier Specialty: Entertainment Law STAIRS, DILLENBECK, FINLEY 200 Park Ave. S. New York, NY 100003 212-697-2700 Fax 212-687-3525 E-mail: firstname.lastname@example.org Web: www.stairsdillenbeck.com Specialty: Enterainment Law TIERNEY & TIERNEY ENTERTAINMENT LAW 409 Rte. 112 Port Jefferson Station, NY 11776 631-928-1444 E-mail: email@example.com Web: www.tierneylaw.net Contact: John Tierney Specialty: Entertainment Law TOOROCK & ROSEN 20 W. 20th St., Ste. 403 New York, NY 10011 212-647-8100 Contact: Michael Toorock Specialty: Music Law, Entertainment Law VOLUNTEER LAWYERS FOR THE ARTS 1 E. 53rd St., 6th Fl. New York, NY 10022 212-319-2787 ext. 1 E-mail: firstname.lastname@example.org Web: www.vlany.org Contact: Elena M. Paul Specialty: Pro Bono legal services for artists. 701-281-8822 800-280-1711 E-mail: email@example.com Web: www.neustel.com Specialty: Intellectual Property VOGEL LAW FIRM 218 NP Ave. P.O. Box 1389 Fargo, ND 58107-1389 701-237-6983, 800-677-5024 Web: www.vogellaw.com Specialty: Intellectual Property Additional location: 200 N. 3rd St., Ste. 201 P.O. Box 2097 Bismarck, ND 58502-2097 701-258-7899, 877-629-0705 www.musicconnection.com/amp PETER VAUGHAN SHAVER, ESQ. SOUND ADVICE, LLC Arts, Entertainmnet and Creative Business law 3939 N.E. Hancock St., Ste. 308 Portland, OR 97212 503-473-8252 E-mail: firstname.lastname@example.org Web: www.pdxsa.com Contact: Peter Vaughan Shaver Specialty: Art & Entertainment Law, contracts, publishing, recording deals Additional location: 100 N. Tryon St., Ste. 4700 Charlotte, NC 28202-4003 704-331-1000 BINGHAM, GREENEBAUM, DOLL, LLP 2350 Chemed Center 255 E. Fifth St. Cincinnati, OH 45202 513-455-7600 Web: www.greenebaum.com Speciality: Intellectual Property BRICKER & ECKLER 100 S. 3rd St. Columbus, OH 43215 614-227-2300 Fax 614-227-2390 E-mail: email@example.com Web: www.bricker.com Contact: Alexander M. Brown Specialty: Entertainment Law Additional locations: 1001 Lakeside Ave. E., Ste. 1350 Cleveland, OH 44114 216-523-5485 Fax 216-523-7071 E-mail: firstname.lastname@example.org Contact: Wayne M. Serra HARTLAUB LAW OFFICES/MUSICIAN MANAGEMENT SERVICES Westerville, OH 614-804-7579 Fax 614-898-0120 E-mail: email@example.com Web: www.myspace.com/joehartlaub Contact: Joseph Hartlaub Specialty: Music Law Ohio BALLARD SPAHR, LLP 1735 Market St., 51st Fl. Philadelphia, PA 19103-7599 215-665-8500 Fax 215-864-8999 E-mail: Allenv@Ballardspahr.com Web: www.ballardspahr.com Contact: Valarie J. Allen Specialty: Intellectual Property BERNARD MAX RESNICK, ESQ. PC 2 Bala Plaza, Ste. 300 Bala Cynwyd, PA 19004 610-660-7774 Fax 610-668-0574 E-mail: firstname.lastname@example.org Web: www.bernardresnick.com Contact: Bernard Resnick Specialty: Entertainment Law/Music Publishing CAESAR, RIVISE, BERNSTEIN, COHEN &POKOTILOW, LTD. 1635 Market St., 11th Fl. Philadelphia, PA 19103-2212 215-567-2010 Fax 215-751-1142 E-mail: email@example.com Web: www.crbcp.com Specialty: Intellectual Property, Computer and Information Technology Law DOVAS LAW, PC 307 Bainbridge St. Philadelphia, PA 19147 267-940-7725 Fax 267-295-6078 E-mail: firstname.lastname@example.org Web: www.dovaslaw.com Specialty: Intellectual Property GLENN A. GOLDSTEIN, LAW OFFICES OF 1650 Market St. Philadelphia, PA 19103 215-981-5922 Pennsylvania DAVENPORT, EVANS, HURWITZ & SMITH, LLP 206 W. 14th St. P.O. Box 1030 Sioux Falls, SD 5701 605-336-2880 E-mail: email@example.com Web: www.dehs.com Contact: Jonathan P. Brown WOODS, FULLER, SHULTZ & SMITH, P.C. 300 S. Phillips Ave., Ste. 300 Sioux Falls, SD 57104 605-336-3890 Web: www.woodsfuller.com Contact: James M. Wiederrich South Dakota ADAMS AND REESE, LLP 424 Church St., Ste. 2700 Nashville, TN 37219 615-259-1450 Fax 615-259-1470 E-mail: firstname.lastname@example.org Web: www.adamsandreese.com Contact: Brad A. Lampley Specialty: Entertainment Law, Music Law, Intellectual Property Additional location: Brinkley Plaza 80 Monroe Ave., Ste. 700 Memphis, TN 38103 901-525-3234 E-mail: email@example.com Contact: Jeffrey. C. Smith CUMBERLAND LAW GROUP 1221 16th Ave. S. Ste. 10 Nashville, TN 37212 615-383-8335 Fax 615-383-8134 E-mail: firstname.lastname@example.org Web: www.cumberlandlawgroup.com Contact: Kevin Norwood Specialty: Entertainment Law ESKRIDGE & ESKRIDGE 100 N. Main Bldg., Ste. 1036 Memphis, TN 38103 901-522-9600 Fax 901-276-3800 E-mail: email@example.com Web: www.eskridgelaw.com Contact: Janelle R. Eskridge Specialty: Entertainment Law, Trademark, Copyright FARRAR & BATES 211 7th Ave. N., Ste. 500 Nashville, TN 37219 615-254-3060 Fax 615-254-9835 E-mail: firstname.lastname@example.org Contact: Russ Farrar Web: www.farrar-bates.com Specialty: Entertainment Law, I.P./Copyright GORDON LAW GROUP 803 18th Ave. S. Nashville, TN 37203 615-786-0113, Fax 615-321-9099 E-mail: email@example.com Web: www.gordonlawgroup.com Contact: Robin J. Gordon Specialty: Contracts, Copyrights, Litigation KING & BALLOW 315 Union St., Ste. 1100 Nashville, TN 37201 615-726-5422 E-mail: firstname.lastname@example.org Web: www.kingballow.com Contact: Richard Busch Specialty: Entertainment Law, Trademarks, Copyrights LOEB & LOEB, LLP 1906 Acklen Ave. Nashville, TN 37212 615-749-8300 Fax 615-749-8308 E-mail: Kkraus@loeb.com Contact: Kenneth L. Kraus Web: www.loeb.com Specialty: all areas LYON & PHILLIPS 11 Music Cir. S., Ste. 202 Tennessee ABINGTON INTELLECTUAL PROPERTY LAW & CONSUMER CLASS ACTIONS 320 S. Boston Ave., Ste. 1705 Tulsa, OK 918-588-3400 E-mail: email@example.com Web: www.abingtonlaw.com Specialty: Copyrights Oklahoma GERBER LAW FIRM 105 W. 4th St., Ste. 800 Winston-Salem, NC 27101 336-773-1324 Fax 336-722-0804 E-mail: firstname.lastname@example.org Contact: Andrew Gerber Specialty: Entertainment Law, Contracts, Copyright and tradmark law, Business Planning RICHARD NOEL GUSLER, LAW OFFICES OF 107 Glenwood Ave. Raleigh, NC 27603 919-582-2150 Fax 919-582-2151 E-mail: email@example.com Web: www.gusler.com Contact: Richard Gusler Specialty: Entertainment Law North Carolina DAVIS WRIGHT TREMAINE LLP 1300 S.W. Fifth Ave., Ste. 2400 Portland, OR 97201-5630 503-241-2300 Fax 503-778-5299 E-mail: firstname.lastname@example.org Web: www.dwt.com Contact: Carol J. Bernick Specialty: Entertainment Law DAY & KOCH, LLP 1435 NW 19th Ave. Portland, OR 97209 503-224-4900 E-mail: email@example.com Web: www.dayandkoch.com Contact: Bartley F. 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(Includes On-Disc Printing & Case) littlehipstermusic.com 818-782-3123 818-731-1043 Real Time Copies: 310-559-9095 realtimecopies.com WE ACCEPT ALL MAJOR CREDIT CARDS Total Production! For Indie Artist & Labels Recording, Songwriting,Vocal Production, Mixing, Mastering Pro Tools, Logic, Reason and more. Save Your Feet and Back Onstage! Radio Ready Recording For Artists Bands & Songwriters HD Great Sounds Low Rates!77 Protools January 2013 www.musicconnection.com Pro Engineer & Musicians Included TIP JAR By David Barber ooner or later every musician who plays a lot of gigs will have this problem. You play a show, but then when you go to settle up S with the venue manager he gives you a whole lot less money than you were expecting. What can you do? Should you do anything? Here are some tips based on my years of experience paying bands. 1. Open communications: Calmly tell the manager (or whoever) that this is not what you were expecting and request an explanation. The venue probably pays bands all the time, so this is nothing more than a simple business transaction for them. If you treat it the same way, then you can have a conversation about the payment and hopefully clear up any misunderstandings. 2. Always have a contract: If you have any kind of agreement in writing and available to show the person who is paying you, a lot of time can be saved. A formal signed contract is not always needed, and many venue bookers won’t sign one anyway. However, an email that says, “Yes. We will pay you $300 for this gig,” or something to that effect from the venue’s booking person, will work. If you have a contract and the venue still refuses to pay, you may have grounds for a lawsuit. 6. Don’t piss them off: If you yell, make a scene or threaten the person who is supposed to pay you, he is less likely to be cooperative. Likewise, if you are drunk or high, you may not be in the best position to discuss the facts with the venue or promoter representative. In this case, you might consider sending someone else in to collect, or come back to settle up tomorrow. (See #4) 7. Talk to the right person: Chances are good that the venue or promoter/ booker is not the same person who will be paying you at the end of the night. You may be settling up with a bartender, door guy, sound guy or even a waitress. Many booking people work during the day and then leave notes for the bar manager (or whoever) about what to pay you. Sometimes there is a misunderstanding on their end. If you think it will help, don’t be afraid to call the booking guy (or ask the manager to do so) and have him talk to the person paying you. 8. Be reasonable: If nobody showed up to see you play, the venue didn’t make any money off you. So asking them to pay a large guarantee can be like asking them to flush a case of Jäger down the toilet. If they offer you half, with the explanation that they are losing money, it may be worth accepting it and chalking it up to bad luck. The alternative is to demand your full guarantee—and expect that they will never book you again. I f nobody showed up to see you play, the venue didn’t make any money off you. So asking them to pay a large guarantee can be like asking them to ﬂush a case of Jäger down the toilet. 9. Go public: If you have tried everything—you talked to them the night of the show, you talked to them again the next day and you have an agreement of some sort that still hasn’t been honored—tell the world. Most music venues don’t want the kind of bad publicity that comes from bands bad-mouthing them. I’ve seen bands get paid within 24 hours of using this tactic. But be careful. If you are too aggressive, they might just sue you for slander. On the other hand, if you are dealing with a fly-by-night promoter who vanished before the show even ended, this is a good way to make sure none of your friends in other bands gets ripped off by the same guy. 10. Take them to court: This is a last resort. It is a lot of work to take anyone to small claims court and there is no guarantee you will win. On the upside, the threat of a lawsuit in a letter from a lawyer might be enough to get you paid, but you will have to pay a lawyer to write it. If a judge finds in your favor, you may be entitled to triple the amount they owe you. On the downside, make sure you are okay with never playing for that venue/ promoter ever again. If the venue is being booked by a national or regional entity (think Live Nation, AEG or Hard Rock) you may never get to play any of their venues again. And if you’re going after a shyster who is out to rip off bands, then even if you win in court you may never collect what he owes you. (See MC's Music Attorneys Directory in this issue.) miniBIO: David A. Barber is the author of Gigging: Everything You Need To Know About Playing Gigs (Except how to play your axe). He is also co-producer of Band Talk every Wed. on Indie104.com, webmaster of rockoncolorado.com, Board Member of the non-pro t Colorado Music Business Organization and a seasoned professional who has worked at several Denver, CO area music venues. 3. Make sure you understand the agreement or contract: Sometimes there’s a miscommunication between whoever booked the gig (on the band’s behalf) and the person who collects the money. Make sure you understand the difference between “They’re going to pay you $300” and “They’re going to pay you $300 if 100 people show up.” If possible, have the person who agreed to the deal be the one who collects the payment for you. This is the most common kind of misunderstanding that happens. I’ve seen band “managers” download a contract from the Internet that was so convoluted even he couldn’t understand it when he tried to get paid. If you don’t understand any part of the contract, don’t sign it. Also, make sure you know ahead of time if the venue is likely to keep money to pay the sound guy(s), the light guy, the security guys, the opening acts or anyone else. 4. Try to resolve the situation that night: Some venues have a policy where any band that doesn’t stick around to get paid at the end of the night, doesn’t get paid at all. Others will gladly let you pick it up the next day. Make sure you know what the policy is before you leave the premises. If you are on the road, coming back the next day might not be possible. Make sure you get as much money as possible before you leave. 5. Evaluate the gig: Did an audience show up? Did they show up for you? How do you know? Are there exceptional circumstances? Did it snow six feet the day of the show? Was there a line of people down the street waiting to get in to see your band? Did you start and stop on time? Were you an opening act? A headliner? Did you play the whole night by yourself? Any of these things could factor into the amount you get paid. 78 January 2013 www.musicconnection.com January 2013 www.musicconnection.com 79 80 January 2013 10:00 PM Mix it down. Open the Capture file in Studio One Artist and mix it while the band loads out. ® ® 2:05 AM Get it to your fans. Upload the set to the band’s Nimbit Facebook store and go find some after-gig eats. They messed up your eggs…but the band just made its first sale. 2:47 AM 3:50 AM Record it. Two mouse clicks in Capture™ records the band’s hot first set to your laptop. Capture multi-track recording software comes free with StudioLive mixers. Powerful Studio One 2.5 DAW comes free with StudioLive mixers. Your free Nimbit account is included with Studio One 2.5 DAW. Only with StudioLive™. ® ® ©2013 PreSonus Audio Electronics, Inc., all rights reserved. StudioLive, Capture and Nimbit are trademarks or registered trademarks of PreSonus Audio Electronics, Inc. Studio One is a registered trademark of PreSonus Software www.musicconnection.com Ltd. iPad and iPhone are registered trademarks of Apple, Inc. PayPal is a registered trademark of PayPal. If you’re reading this footnote, the Mayans were sorely misinterpreted. Record it. Polish it. Upload it. Sell it. All from within the integrated suite of PreSonus software that also includes the most advanced iPad and iPhone control ever. Only StudioLive mixers let you go from Riff to Release™ (to money in your PayPal account) on the night of the gig. ® www.presonus.com