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• • • •

2000W TruSource™ Technology DL2 Integrated Digital Mixer Ultra-Compact & Lightweight

• • • • •

Wireless Mixing Total Control From Your iOS Device Onyx Mic Preamps 24-bit Cirrus Logic® Converters Powerful Selection of Plug-ins




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 ©2013 LOUD Technologies Inc. All rights reserved. “Mackie.”, the “Running Man” figure. and TruSource are trademarks or registered trademarks of LOUD Technologies Inc. All other trademarks are property of their respective owners. During yoga the dials should be set to 11.



Cover Stories

The Avett Brothers


The Concord, NC-based indie folk-pop group called “the best Pop band in the Alt-Country corral� (Rolling Stone) continue to win over fans and critics with their latest release, The Carpenter, which was nominated for a 2013 Grammy. For this exclusive Q&A, MC speaks with the band’s Scott Avett. By Dan Kimpel


Career Connection

46 Via his Grow Music Project, Christopher Tyng is offering unsigned artists a chance to record in his state-of-the-art studio. By Andy Mesecher

Do-It-Yourself Management


More and more artists and bands are taking the reins of their own careers. In this unique MC feature, we speak to three of those DIY acts, as well as a longtime manager, all of whom shed light and give insights on how to get it done. By Bernard Baur


Directory of Managers & Agents

Booking Agents and Managers––Music Connection delivers their names, numbers, email addresses, current rosters, you name it. It’s the kind of information that any music-maker values when looking to advance his career. Nowhere else can you find such an extensive contact list, fully update and expanded for 2013.



Close Up Assignments New Toys Book Store Up Close Studio Mix Business Affairs Signing Stories Song Biz Film/TV/Theater Mixed Notes

Reviews  CD Reviews  New Music Critiques  Live Reviews

Compiled By Denise Coso

Producer Crosstalk: Steve Albini..........................................................By Rob Putnam Exec Profile: Peter Schwartz, The Agency Group................................By Andy Kaufmann Songwriter Profile: Remembering John Braheny......................................By Dan Kimpel Industry Profile: BMI Re-Brands Itself..................................................By Andy Mesecher Tip Jar: 5 Timely Tips for Indie Labels & Artists....................................By C. Michael Brae

Be Sure To follow Music Connection on Facebook and Twitter. Check out our AMP Social Space 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

March 2013

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Hey, remember the ‘80s? A lot of bad clothes perhaps but some way-cool, aggressive distortions. Tight, muscular grind with buzz-saw harmonics never went out of fashion and the Boost Distortion delivers that fast punchy tone. It features its own unique SAG control that adds an expressive,tube-like response to every pick stroke.

Putting an overdrive pedal in front of a hard-pushed amp has been the secret weapon for generations of guitarists wanting to punch up the midrange and add sustain. The Boost Overdrive is packed with voluminous amounts of screamin’ tone. Just hit the Boost switch to go bigger and badder. The unique SPARKLE control adds upper harmonics for an open, snappy sound.

Vintage pedal hounds know that germanium fuzz sounds are way sweeter than silicon fuzz…but only when the temperature is just right and doesn’t spike. The Boost Fuzz solves that problem by nailing that creamy germanium tone, consistently all night long. This SAG control allows notes to bloom and sing at your command, for dynamic, organic performances.

When you need a huge, 360-degree, room-filling bass tone, step up to the Bass Boost Fuzz. Get the fat, gritty sounds of the ‘60s fuzz bass and put some musical rage in your low-end. When you need more focus and edge, dial in the +CLEAN control to add just the right amount of direct tone to your mix.

Designed and Manufactured in the U.S.A.

PUBLISHER E. Eric Bettelli


9LSLHZPUNH JV]LYZVUN& 5LLKH SPJLUZL& Songfile makes it easy to do the right thing.









CONTRIBUTING WRITERS 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, Brooke Trout, Albert Vega, Catherine Veit, Jonathan Widran, Ellen Woloshin. PHOTOGRAPHERS Allegra Azzopardi, Bernard Baur, Daren Cornell, Jody Domingue, Scott Dudelson, Karen Emmert, Kevin Estrada, Corey Irwin, Oscar Jordan, David Klein, Dave Long, Thomas Long, Kim Mack, Cindy Miley, Paula Muñoz, Jessica Pace, Scott Perham, Rob Putnam, Tim Reid Jr., Danny Seyum, Daniel Siwek, Brian Stewart, Dave Stone, E. H. Tiernan, Brooke Trout, Albert Vega, Ellen Woloshin. Manufactured and printed in the United States of America, Music Connection (ISSN# 1091-9791) is published monthly by Music Connection, Inc., 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.

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March 2013

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For songwriters and publishers it doesnâ&#x20AC;&#x2122;t just pay to sign with us, it pays monthly. As the most progressive PRO in the U.S., weâ&#x20AC;&#x2122;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.



By Jonathan Widran

W !"!#!$!#"!!% & & &# ' ( ) * & * + + , ' - , . * / ( 0 1 # 2 3 '

ell-known for their regional books on everything from travel and natural history to sports, gardening, astronomy and country living, Minneapolis-based Voyageur Press—founded in 1972—has amassed an eclectic and dynamic catalog of high-quality music related books since becoming an imprint of UK based Quayside Pubishing Group in 2007. While the stated goal on its Facebook profile is to “be America’s regional publisher,” the publisher’s offerings cater and are sold to music fans and musicians around the world. Two highly anticipated titles typify the diversity of the richly illustrated music related books—from histories of legendary rock bands to fascinating tomes about musical instruments and gear. Rush: The Illustrated History, penned by veteran music journalist Martin Popoff, is a 192-page hardback volume featuring 376 color and 90 black & white photos and retailing for $35. Dave Hunter’s 365 Guitars, Amps & Effects You Must Play: The Most Sublime, Bizarre and Outrageous Gear Ever is a 320-page paperback featuring 656 color and 31 black & white images. It retails for $21.99. Steve Roth, Voyageur’s Marketing Manager and a 20-year music industry veteran, says, “All of our books are lavish, high quality, extremely well researched works by big name rock journalists. The band and artist books are heavily illustrated histories which are like Hall of Fame exhibits as they feature rare personal photos, concert photos and memorabilia, including tickets and posters, all presented in a chronological format. “The musical instrument books are for folks who are passionate about the instruments they own and play. The recent Fender Telecaster: The Life and Times of the Electric Guitar That Changed The World tell the story of the instrument’s creation and its influence on rock music, and includes profiles of players who have been known to use them,” he adds. “The Fender book has illustrated features on Springsteen, Billy Gibbons, Keith Richards, Vince Gill, Syd Barrett and Clarence White, to name a few.” Scrolling the catalog pages on the website ( categories/113/Music.html) leads to exciting discoveries dating back to 2007. Also by Hunter is Amped: The Illustrated History of the World’s Greatest Amplifiers, a 2012 hardback (208 pages, 339 color and 57 black & white photos, $35). Neil Daniels wrote Iron Maiden: The Ultimate Unauthorized History of the Beast (224 pages, 421 color and 39 black & white photos, $40). Daniel Durchholz and Gary Graff wrote 2010’s Neil Young: Long May You Run: The Illustrated History (224 pages, 291 color and 118 black & white photos, $30) as well as 2012’s Rock ‘N’ Roll Myths (240 pages, 102 color and 55 black & white photos, $22). Another popular title is The Replacements: All Over But the Shouting: An Oral History) by Jim Walsh (304 pages, 81 black & white photos, $21.95). The rock legends list extends to Richard Bienstock’s Aerosmith: The Ultimate Illustrated History of the Boston Bad Boys (224 pages, 378 color and 71 black & white photos, $35); Chris Welch’s Clapton: The Ultimate Illustrated History (256 pages, 347 color and 53 black & white photos, $40); Phil Sutcliffe’s Queen: The Ultimate Illustrated History of the Crown Kings of Rock (288 pages, 456 color and 77 black & white photos, $24.99) and Jon Bream’s Whole Lotta Led Zeppelin: The Illustrated History of the Heaviest Band of All Time, now available in paperback. While Voyageur Press focuses on rock & roll, their catalog includes such titles as 2012’s Miles Davis: The Complete Illustrated History, Rockabilly: The Twang Heard Round The World and The Art of Punk. Voyageur Press’ parent company Quayside Publishing Group represents a dynamic group of imprints dedicated to quality print and ebooks. Formed in 2004 upon Rockport Publishers’ acquisition of Creative Publishing international, the Quayside Publishing Group now encompasses Cool Springs Press, Fair Winds Press, Motorbooks, MVP Books, Quarry Books, Quayside Distribution Services, Quiver, Race Point Publishing, Rockport Publishers, Zenith Press and Walter Foster Publishing. Contact Voyageur Press, 612-344-8156


March 2013


Erika Earl

Jay Morrissey

Tech Manager/Sales Consultant Vintage King Audio Vintage King Audio, a leader in sales of high-end boutique and vintage recording equipment, has hired industry vet Erika Earl to serve as Tech Manager/Sales Consultant in its Los Angeles Flagship Store and Demo Studio, VKLA. Earl adds a wealth of technical experience to the VKLA team, with a specialty in analog systems, having performed repair, service and quality control for a wide range of top manufacturers, including Tube-Tech, Focusrite, Avid and many others. Earl also has experience in front of the console, working in studios throughout Arizona as well as The Distillery in Costa Mesa, CA. Most recently, she served as Head of Technology and Chief Technician for L.A.’s landmark studio The Village. Contact

Andy Flint

Sr. Mgr., Portable PA Marketing Harman Professional Harman Professional has appointed Andy Flint to the position of Senior Manager, Portable PA Marketing, Loudspeaker Group. In his new role, Flint will handle the Portable PA market for Harman’s Loudspeaker Group and its JBL Professional products, and will lead the development of new marketing and product strategies for this segment. Flint joins the Loudspeaker Group after eight years with Harman’s Amplifier division, where he was responsible for managing product strategy, pricing structures, brand image and large account relationships for the pro audio retail market and played an integral role in Crown Audio becoming the market leader in the portable PA power amplifier market segment. Contact

Rex Reed

Director of Engineering Harman Signal Processing Rex Reed has been promoted to Director of Engineering at Harman Signal Processing. In his new role, Reed will oversee engineering for the BSS Audio, dbx, Lexicon and DigiTech brands. Reed joined Harman Signal Processing in 1996 as a DSP engineer and since then has assumed roles with increasing responsibility within both engineering and product management. Most recently he served as Business Segment Director for Installed Sound and Portable PA, directing business and product development for the BSS and dbx brands. Reed holds a Bachelor and Masters Degree in electrical engineering from Utah State University. For further information, contact philip.

Director of Sales, EMI Casio America, Inc.

Casio America, Inc., a leading provider of electronic keyboards, has added Jay Morrissey to its Electronic Musical Instruments (EMI) division. Morrissey joins Casio as director of sales, responsible for all National Music Channel Retailers, including Sam Ash, Guitar Center, Musician’s Friend, and Music & Arts. Morrissey began his career in the electronic musical instruments industry in 1998 at Guitar Center’s first New Jersey location in Springfield. Expanding his skill-set and knowledge of the industry, he worked as a combo manager for Mars Music, national accounts manager for Taylor Guitar and VP of sales and marketing for Composite Acoustics in Louisiana. For more info, contact

Maria Drummond

Secondary Promotions Manager Jerry Duncan Promotions Jerry Duncan Promotions has hired Belmont University graduate Maria Drummond as Secondary Promotions Manager. In her new role, Drummond will focus on building and maintaining relationships with country radio stations stateside and abroad. She recently relocated back to her home state of Tennessee from New York City. Drummond completed her Entertainment Industry Studies degree via Belmont East with internships at SiriusXM and The Press House, a boutique publicity firm. Her resume also includes time at AAM Mangement and Outpost Digital. For further information on this hire, you may contact Drummond directly at

Bruce MacPherson US Sales Director DPA Microphones

DPA Microphones has announced the addition of Bruce MacPherson as US Sales Director. MacPherson is a sales professional, audio product specialist and audio engineering veteran with experience in current technology and techniques for audio recording and live sound, as well as commercial and post production. In his new role, he will be responsible for overseeing all DPA sales and customer service activities. Prior to DPA Microphones, MacPherson held sales positions with Universal Audio, Sam Ash and Musication. He was also a product specialist for Digidesign (Avid), an engineer and sound designer at Looking Glass Studios and musical director for the Dana Carvey Show. Contact

B.J. Shaver

Karl Detken

Regional Sales Manager L-Acoustics L-Acoustics is expanding its sales force supporting the North American rental and installation sound market with the appointment of B.J. Shaver as Regional Sales Manager. Shaver will focus on supporting and developing L-Acoustics’ network of Certified Providers for the Southern United States, a region extending from Texas to the Carolinas, including Florida and Tennessee. Shaver joins L-Acoustics from Elite Multimedia, a professional audio/video company located in Tennessee, where he performed in various technical sales positions before being promoted to VP, Sales and Installation. Contact

VP, Interactive Media V-MODA Karl Detken has been added to the V-MODA team. Detken will hold the official title of Vice President of Interactive Media for the multiplatinum selling designer of headphones. For 18 years Detken directed Pioneer’s marketing, product development and artist relations. He was instrumental in the success of the CDJ/DJM/DVJ/EFX series and HDJ headphones. After Pioneer, he focused his time as a marketing, social media and audio tech guru. He personally built an audience of almost 3/4 of a million followers on Twitter and Facebook. For more information on this new hire, visit March 2013




TASCAM TH-02 HEADPHONES THE TH-02 HEADPHONES have a closed-back design and sell for under $30 and, as they say, “you have hear them to believe it.” I tried them out using my Aphex Systems Model 454 HeadPod studio headphone box. Since the HeadPod has four separate, identical amplifiers—one amp for each pair of headphones, I’m able to quickly compare four different sets of phones playing music from my Pro Tools 10 rig simultaneously. I’m surprised how well the TH-02 holds up as compared to headphones I own costing up to three or four times as much. I get a good “look” at the mid-range frequency content in my mixes without the exaggerated bass boost that many other new headphones have. One set (that cost at least three times as much) didn’t feel as comfortable on my noggin’ as the Tascam TH-02 headphones. I like the plush cushioned ear cuffs and padded headband. Both left and right ear-cuffs rotate 90-degrees for one-ear monitoring and make folding them up easy. The Tascam TH-02 headphones come in your choice of black with silver logos or all white with red logos, cord and accents. Other features include: tightly-stitch headband, 3-meter cord with 1/8-inch mini plug and 1/4-inch adapter, and can handle power up to 600-mW. Check out product/th-02. See MC’s exclusive NAMM coverage of the Tascam TH-02s at


MACKIE DL806 8-CHANNEL DIGITAL LIVE SOUND MIXER THE 8-CHANNEL MACKIE DL806 is a slightly scaled down version of the DL1608 16-channel digital live mixer. Both feature control and mixing using the My Fader™ app for either iPhone/iPod Touch or the Master Fader™ app for iPad. An iPad will slide into the DL806 and, like the other iOS devices also connects/controls wirelessly via WIFI. The wireless setup is easy to do using your existing WIFI router and you can mix from anywhere in the room using up to 10 iPad, iPad Mini, iPhone or iPod touch devices at the same time. Like the DL1608, the DL806 is useful for individual stage monitor mixes or, as I envision using it, individual headphone mixes for musicians in the studio. The DL806 has eight Onyx mic preamps (instead of the DL1608’s 16) otherwise the same technology under the hood: 24-bit Cirrus Logic® AD/DA converters, fourband EQ, dynamics, effects plug-ins and the 31-band GEQ graphic on the stereo main bus. On the DL806, there are four aux sends (instead of six on the DL1608) for monitor mixes, master L/R output, gate and compression plug-ins on all inputs, comp/limiter on outputs, global reverb and delay, preset and snapshot recall, and direct stereo recording to your iPad when docked in the DL806. The DL806 will be available by the end of April, 2013. For more, visit

10 March 2013

AURALEX’S PROMAX™ stand-mounted panels are instant problem-solvers for reducing unwanted sound reflection and excessive reverberation. Being a standalone absorption panel with a built-in floor stand, ProMAX panels are useful where boundarymounted (walls and ceilings) acoustical treatments are not possible or even feasible. ProMAX panels are useful in rented spaces or for location recording in acoustically-terrible rooms by film/television or ENG (electronic news gathering crews). This updated version has both an absorptive side and a reflective side, providing the option of also enlivening a section of a room for recording acoustic instruments. You may find the absorptive side of several ProMAX panels useful for “reigning in” an overly live room when a recording speakers in a business meeting set in a temporary space. The 2-ft. x 4-ft. Studiofoam® panels are three inches thick and feature a cloth-wrapped, moderately reflective rear surface. With several ProMAX panels surrounding a group of musicians (say a string quartet) or a small discussion group in a space, just the right room ambience is obtained by varying the quantity, orientation and spacing of them. ProMAX panels are made from a proprietary melamine-free formula that won’t crumble like other materials and comes in charcoal gray. For more information, check out

AUDIO-TECHNICA AT2020USB+ CONDENSER MICROPHONE AUDIO-TECHNICA’S AT2020USB+ is the third variant of the original AT2020 cardioid-only pattern, side-address condenser microphone. The AT2020USB is the USB 2.0 version of the same studio microphone and now the new AT2020USB+ adds zero-latency monitoring, a stereo headphone mini-jack and mix control. The AT2020USB+ features a built-in high-output internal headphone amplifier for plenty of volume and the mix control blends the microphone’s direct signal with pre-recorded audio coming from your DAW computer, DJ rig or karaoke system. Like the original AT2020, the cardioid pickup pattern delivers an upfront presence for vocals, acoustic guitars or for voiceovers and Webcasting. The onboard A/D converter produces 16-bit audio at either 44.1/48 kHz sampling rates and ensures compatibility with Windows 7, Vista, XP, 2000 and Mac OS X. The USB powered AT2020USB+ includes a tripod desk stand, stand mount, USB cable and soft protective carrying pouch and sells for $279 MSRP. For more information, please visit

Saffire PRO 14 + Two Focusrite mic preamps capture your sound with pristine clarity + High-quality 24-bit/96kHz digital conversion, with JetPLL™ jitter elimination + Saffire MixControl ultra-low-latency DSP mixer/router

Saffire PRO 24

Saffire PRO 24 DSP

+ Two Focusrite mic pres, based on an unparalleled preamp legacy

+ Features VRM - simulate different monitors and rooms, using your headphones

+ With an ADAT input, Saffire PRO 24 provides a vast I/O count for the money

+ 16 in / 8 out interface with two Focusrite mic pres

+ Xcite+ bundle features 1 gig of loops, Ableton Live Lite 8, and more

+ Onboard DSP-powered, latency-free EQ, Compression and Reverb

LIQUID Saffire 56

Saffire PRO 40

+ Two Liquid preamps, each allowing you to choose from ten classic emulations

+ Eight Focusrite mic pres, based on a 25-year preamp legacy

+ Total I/O count of 28 inputs and 28 outputs, including 8 Focusrite preamps

+ Professional 24 bit / 96kHz digital conversion, with JetPLL™ jitter elimination

+ Professional 24 bit / 192kHz digital conversion, with JetPLL™ jitter elimination

+ Ultra-low-latency intuitive DSP mixer/router with quick one-click set-ups

For further information: (310) 322-5500 March 2013




YAMAHA LIVE CUSTOM DRUM SET THESE ARE YAMAHA’S first Live Custom kits and they feature 100 percent oak shells and are the first set to come out of a new state-ofthe-art Yamaha owned and operated factory. Built in conjunction with artists and consumers, the Live Custom shell is slightly thicker than the current Oak Custom kit and gives the drums more depth, projection and clarity. And the black nickel-plated hardware and gorgeous lacquer finishes are strikingly beautiful—an immediate “looker” on stage. Pictured is a big kit in their Black Shadow Sunburst finish. The snare drum includes a redesigned throw-off and butt plate with stronger, smoother action while the floor tom leg bracket features a stronger vertical bolt. Live Custom drum sets sell from $1,399.99 to $1,799.99. For more information, visit drums.

ARGOSY CONSOLE SPIRE I-STANDS ARGOSY’S SPIRE I-STANDS have integrated IsoAcoustics’ patented system that de-couples vibrating speaker cabinets from these freestanding monitor stands. Two models are offered in the line, the 42-inches tall Spire 420i at $399 per pair; and the 36-inch tall Spire 360i at $379 per pair. Both are attractive and stable studio monitor stands made from thick, powder-coated Medite—an environmentally friendly substitute for plywood and/or particleboard. The top measures 7 3/4 x 9 7/8-inches and the base measures 16 x 16 square inches. The twin upright columns have die-cut holes and all edges are beveled like fine furniture. Each are capable of supporting monitors weighing up to 75-lbs. IsoAcoustics’ isolators are designed to keep all movement on-axis—in the direction of the speaker cone’s travel—while resisting movement in all other planes. Mechanically isolated monitors improve definition in the bass frequencies and immediately improve the stereo imaging of your existing speakers. I like Argosy Spire I-Stands’ modern and stylish look, their stability and the fact that I don’t have to buy extra speaker isolators—they’re built in. For further info, check

KORG MS-20 MINI SYNTH KORG’S MS-20 MONOPHONIC SYNTHESIZER, first introduced in 1978, is reborn as the MS-20 Mini. Shrunk to 86 percent of the original’s size, it retains the two oscillators with ring modulation, envelope generators with delay/hold, and patch cord programming. The VCA (Voltage Controlled Amplifier) maintains the original’s basic design but produces less noise. The original filters’ characteristics, with both high-pass and low-pass and peak/resonance, are also included. The patching system uses 1/8-inch jacks and the clear, front panel signal chain flow chart is a great and fast way to learn synthesizing musical sounds. Patching enables the creation of complex sounds by allowing the rerouting of both modulation and audio (from both the internal oscillators and external audio sources). The ESP (External Signal Processor) functionality allows the utilization of either the pitch or volume of an external audio source to control the synthesizer—yes! There is a MIDI-In jack for receiving note messages, and the USB-MIDI connector will transmit and receive note messages to your computer. With the original MS-20 owner’s manual and settings chart, the Korg MS-20 Mini will be available at MAP price of $599. See

ON-STAGE U-MOUNT SYSTEM FOR IPADS ON-STAGE’S U-MOUNT SYSTEM is part of the OSIM series of products including the TCM9150 Tablet Mounting System, TS9901 Heavy-Duty Tablet Stand and the TS9900 Compact Tablet Stand. Each sold separately, the modularity of this system design means you only buy what you need. On-Stage has it figured out; your iPad1 or iPad2 does not have to be pulled out of the protective cover that most iPad owners buy. I know I’m less likely to bother “unwrapping” my iPad2 every time I want to use it for a music app. The TCM9150 functions as a dedicated cover with slots cut for the camera, speaker, 30-pin I/O connector just as any cover you might pay over $100. This unique protective case has a threaded 8-mm insert on the back that mates with an anodized aluminum arm system. Fully adjustable, you can rotate, tilt and make horizontal, and vertical adjustments to get the iPad just right. Its elliptical clamp mounts to any On-Stage Stands mic stand or similar structure; it even mounts to flat edges like tabletops and rack cases. Visit for more information and configurations.

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.

12 March 2013

Punch it up! Introducing the Cerwin-Vega! P-Series! The powerful, portable speaker system that combines rugged construction, extreme clarity and unmatched bass performance in an easy-to-use package.

Meet the P1800SX subwoofer and experience legendary Cerwin Vega! Bass.


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. Q Q Q Q Q Q Q


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

Š2012 Cerwin-Vega! All rights reserved. March 2013 13


;/,<3;04(;, For the Coffee Table... )662:-69 4<:0*-(5:

STICKS ‘N’ SKINS: A PHOTOGRAPHY BOOK ABOUT THE WORLD OF DRUMMING By Jules Follett (hardcover) $75.00 Over 500 drummers are profiled in the pages of this captivating, heavyweight hardback. The first of its kind, Sticks ‘n’ Skins features photos and stories of legendary artists, profiling the eclectic world of drumming over the past 70 years. The book not only provides visual inspiration photos but also preserves the legacy of the diverse and unique drumming community. Among the many, many drummers represented are: Cindy Blackman (Lenny Kravitz), Buddy Rich, Earl Palmer, Mike Portnoy, Herman Ernest III (Dr. John), Johnathan Moffett (Michael Jackson), Charles Connor (Little Richard), Lenny White (Miles Davis), Gina Schock (the Go-Gos) and so much more.


Long May You Run: The Illustrated History, Updated Edition This is the first illustrated history to span Neil’s 41 studio albums, 6 live releases, and 40-plus years as a recording and touring musician.

Everything I Know About The Music Business I Learned From My Cousin Rick

Logic Pro for Recording Engineers and Producers

By Dave Rose (paperback) $11.95

By Dot Bustelo (paperback) $16.99

Author Dave Rose’s lifelong experience in all facets of the music business offers unique insight into the obstacles, complexities and triumphs that are crucial to a musician’s ability to thrive. Rose teaches practical and relevant tactics on how to properly gauge and monitor success, and wisdom on how to avoid and quickly correct common mistakes.

This Quick Pro Guide is specifically designed to help engineers and producers who are already proficient in another DAW software platform, make the transition to Logic Pro. Text, illustrations and examples are geared toward demonstrating the creative, practical and technical benefits provided by Apple. The guide includes a Quickstart chapter for instant gratification, allowing the novice to become familiar with the software in a minimum amount of time, along with an accompanying DVD-ROM containing video and audio examples to support the text.

Best Jobs in the Music Industry: Straight Talk from Successful Music Pros By Michael Redman (paperback) $24.99


The Ultimate Illustrated History Slowhand’s entire career is captured in words and rare and brilliant photos, by noted UK music scribe Chris Welch. Available at your favorite bookstore and online retailers. For wholesale inquiries contact your Hal Leonard representative.

14 March 2013

Best Jobs in the Music Industry is a career guide for those who love music and are exploring different areas of the industry beyond the obvious performer route. Author Redman boils down the job requirements, skill sets, potential revenue, longevity, benefits and challenges of a variety of music careers both direct and indirect, spanning performer to label executive to recording engineer and music producer.

Songs That Saved Your Life: The Art of the Smiths 1982-87 By Simon Goddard (paperback) $14.95

One of the seminal groups of the ‘80s, the Smiths’ career was as brilliant as it was brief. Now, drawing on interviews with band members, producers and colleagues, music journalist Simon Goddard presents a meticulous chronological survey of the group’s evolution, from first demos in 1982 to final fractured studio session five years later.

March 2013 15


By Jonathan Widran


unique, brand-new remote digital mastering service offered by the legendary Capitol Studios in Hollywood, CA Capitol Beacon is designed and operated to allow artists, composers, musicians and producers access to the historical brand’s experience, facilities and mentorship. Beacon’s core mission is to aid in the continuing development of the art and science of recording and to invite a wider audience into the historic Capitol Studios. Using the Capitol Beacon mastering service, clients are able to enter the virtual doors to Capitol Studios and benefit from its legendary heritage, experience, facilities and engineers. Capitol Beacon’s official mission statement is grounded in a desire to help artists achieve more than simply sonic excellence. Included on their website ( is the following: “The wisdom and knowledge that have been honed throughout our recording history and the equipment we house here can all help steward that deep emotional connection between your fans and your music.” The Capitol Mastering team brings to each project years of expertise working with hundreds of top artists. The list includes Norah Jones, the Decemberists, Demi Lovato, Snoop Dogg, LeAnn Rimes, D’Angelo, T-Bone Burnett, Selena Gomez, Miley Cyrus and REM who have all benefited from the legendary equipment still used every day, including our world renowned Echo Chambers, Fairchild 670’s and the custombuilt Capitol 5511 Compressor which is unique to their facility. The process is simple: when Capitol receives a track, they assign a mastering engineer based on his/her experience with the genre. The client is given a one-time “iteration,” or opportunity to communicate directly with the assigned engineer during the mastering process—to make any specific sonic corrections, adjustments, etc. Interaction with the facility’s experienced personnel is part of the Capitol Beacon service, designed to keep the client informed and involved. The fee, as posted on the website, is a very affordable $100 per track. Capitol Beacon is making its initial social media push on Facebook ( and Twitter ( capitolbeacon). “Capitol Beacon provides the same engineers and equipment that is offered to those artists and producers working in our four main mastering rooms,” studio head Drew Waters says, “with the biggest difference being that, to maintain maximum efficiency and a low cost, the session is unattended and the client is given a single opportunity to interact with his/her engineer. Anyone in the U.S. can use our FTP, and our turnaround time is only ten business days. For us, it’s an opportunity to provide our services to underrepresented markets of independent artists and producers who want the kind of experience and sound quality Capitol offers but who live far from L.A. and are working on a budget that doesn’t allow for lengthy attended mastering sessions.” Capitol Beacon provides fast, effective communication about how the project is progressing, with an email sent to the client after every step of the process—successful upload, when the sessions are scheduled, when the work is completed, etc. There are auto notifications, but clients can also speak with real people to make sure things are on track. “We understand the importance of sonic details, so at the time of original submission we offer the opportunity to add preferences,” Studio Project Manager Ursula Kneller says, “The communication between client and engineer after the initial work is done is to ensure that all client specifications have been followed correctly. Our goal is to always honor the artist’s vision. While we have the privilege of providing these services, artists across the country now legitimately have the Capitol Mastering stamp on their recordings.” Waters adds, “The measure of our success will be when an artist who lives a thousand miles away listens to the finished master and hears a sound that fully realizes her vision for the labor of love that is her music.” Contact Capitol Beacon, 323-871-5003, onlinemastering@

16 March 2013

March 2013 17


Producer Playback

NAMM 2013

With floor expansions, an outdoor stage addition and thousands of new products on display, the 2013 National Association of Music Merchants (NAMM) trade show was nothing short of a success. Below are a few of the a-list music industry folk seen on the NAMM floor. See our video coverage that includes Sennheiser, Tascam, Blue Mics, Westone, Cakewalk, Universal Audio, Darkest Hour, Scale the Summit and more at

“[When producing], there are no rules. It’s easy to say that you start a song with a drum set and have this procedural construct. That doesn’t have to be.” — Matt Serletic producer, former Virgin Records CEO. Interviewed in MC January 2013

Pictured (l-r): Andrea Germano, ThundHerStruck bassist; Phil Soussan, Ozzy Osbourne and Billy Idol bassist; Gary Ladinsky, owner, Design FX; producer-engineer Flash Ferrucci; and Shari Hoffman, Audiovisual & Symphonic Recordings Manager for AFM & SAGAFTRA Intellectual Property Rights Distribution Fund.

LEGION UNLEASH STUDIO UPDATE: Columbus metal group Legion have issued a studio update surrounding their yet-to-be-titled new release ( kxWuHbij9b8). The band have been working with producer Daniel Laskiewicz of the Acacia Strain and have vowed to release their most ferocious material to date. Legion is Michael Guilford, vocals; Chris Dragics, guitar; Alex Heiberger, guitar; Mason Prince, bass; Jake Rodriguez, drums. BLACK SABBATH ISSUE STUDIO UPDATE: Rock legends Black Sabbath are working on their new album, 13, which will be released this June. The original Black Sabbath—Ozzy Osbourne, vocals; Tony Iommi, guitar; and Geezer Butler, bass—recorded the album primarily in Los Angeles and were joined at the sessions by drummer Brad Wilk (Rage Against The

Machine). Produced by seven-time Grammy winner, Rick Rubin, 13 will be released on Vertigo (worldwide) and Vertigo/Republic in the US. See a studio update here: http://

Addendum: Listed below is a

correction to our Producer/Engineer guide from Feb. 2013: THE OC RECORDING COMPANY 3100 W. Warner Ave., Ste. 7 Santa Ana, CA 92704 E-mail: Web: Contact: Asaf Fulks Rates: Please contact us Credits: Universal Pictures, Disney, ESPN, LA Clippers, Canon, Casio, Platinum & Grammy Artists Gear: Pro Tools, Neve, SSL, API, Sony C800G, Aurora Audio, Avalon, Lynx, Dangerous, Focal, Adam, Tube Tech, Waves L2, Massey, Fab Filter.


Pictured (l-r): Mark Gander JBL Professional Marketing; Keith Shocklee, producer of Public Enemy; and Bryan Bradley, Head of JBL Professional.

Everly & Sons seen at the Cleartone string booth (l-r): Phil Everly, Chris Everly, Jason Everly (the president of Cleartone), and Music Connection publisher Eric Bettelli.

18 March 2013

QUINCY JONES RECEIVES LIFETIME ACHIEVEMENT AWARD Jimmy Jam presents legendary producer Quincy Jones (left) with the Grammy Lifetime Achievement Award at the Exclusive Grammy P&E Wing party at The Village Recorder.


MC, OZOMATLI, MEIKO TEAM UP FOR WHOLE PLANET FOUNDATION Music Connection was a media sponsor of the Whole Planet Foundation’s Pre-Grammy party at legendary EastWest Studios in Hollywood, CA. Meiko (pictured), Ozomatli and others performed in support of the Foundation’s global micro-lending programs. Sambazon was the lead sponsor at the event produced by Planet LA Music and Clamorhouse.


MUSIC PRODUCERS GUILD BEGINS STUDIO WORKSHOPS IN HOLLAND The Music Producers Guild, in conjunction with Joram Pinxteren at Legacy Studios in Holland, has initiated a series of seminar/workshops that will run periodically throughout 2013. At the first workshop, Pinxteren conducted a face-to-face interview with Tony Platt (pictured), in which Platt discussed his philosophy of production, engineering and music, and demonstrated multiple ways to track drums. Platt also had some Pro Tools examples of sessions that he used to explain particular techniques and illustrate his answers to questions.

THE STRUMBELLAS TRACK AT SEATTLE’S BEAR CREEK The Strumbellas spent time tracking with producer-engineer Ryan Hadlock at his Bear Creek Studios late last year. Located in Seattle, WA, Hadlock’s family-built studio has hosted Brandi Carlile, Soundgarden, Foo Fighters, Modest Mouse, Eric Clapton, Lionel Richie and was the place where the Lumineers tracked “Ho, Hey.” Pictured (l-r): Simon Ward, Jeremy Drury, Isabel Ritchie, Ryan Hadlock, Jon Hembrey, Jerry Streeter, Darryl James and Dave Ritter. Get more Bear Creek news at

POP EVIL TEAM WITH JOHNNY K FOR UPCOMING RELEASE Michigan rockers Pop Evil are currently at Groove Master Studio in Chicago, IL, tracking their upcoming album. The yet-to-be titled work is being produced by Johnny K (Disturbed, Staind, Plain White T’s). Pictured is Pop Evil vocalist Leigh Kakaty. For studio updates, visit

March 2013 19


Steve Albini Recording analog in the digital age By Rob Putnam


teve Albini, famed Chicago-based recording engineer, industry critic and member of rock outfit Shellac, has worked across genres with more than 1,000 artists, notably Nirvana, PJ Harvey and the Pixies. He launched his studio Electrical Audio in 1997. It’s a formidable space that’s managed to keep its doors open when comparable studios have not by holding overheads low and otherwise running efficiently. Perhaps most telling of his engineering philosophy is that he continues to record solely in analog. It’s typical for Albini to begin work with a band with little or no introduction, due to the way that he books his studio. “I do a lot of sessions where the band is basically coming in cold,” he explains. “I’ve never met them or heard their music, but through reputation or reference they’ve decided that they want to work with me. My schedule doesn’t permit pre-production and I tend to book session after session. There’s no time in between for me to do anything other than work on the next record. That’s a function of the economics of the studio business at the moment. It’s not possible to earn a living unless you’re working constantly.” The three most important Albini asserts that it isn’t his job to things he’s learned as impress his own mark upon a record. an engineer are: Many engineers, particularly mastering, have made similar observations. “I’ve r You can’t fake knowing what been in bands myself so I have a lot you’re doing. It’s better to say of respect for the way they operate,” “I don’t know what’s going on.” he says. “Most of what I do is facilitate decisions that the band has already r In the back of the mind of made; they’ve already decided how every engineer I’ve met, they they want their record to sound. If feel like they don’t really know something’s weird or unpleasant, what they’re doing. Everybody I’ll mention it. But I’m open-minded has this nagging doubt that enough to know that I’m not always they’re a fraud. You have to get going to understand it. The last thing comfortable with that feeling; a band needs is someone telling them that you’re not really in control. they’re wrong about their own music. I try my hardest to never say no.” r You can’t push the sound Albini is an advocate of trying around. The more tweaking new things on virtually every project you do, the more freakish the on which he works. He learned this music becomes. I learned the approach from an interview with hard way that records end up record-ing engineer and Shellac sounding the best when you bassist Bob Weston. As he explains: don’t have to do a lot to them. “On every session he did, he made a point of doing one thing that he was curious about, whether that was using a mic he’d never used before or putting it in a position he’d never tried. Gradually you build a vocabulary and if you’re ever required to do something, you can reach back into your memory. I totally stole that idea.” Despite the technical advances of recent years, Albini still opts to work exclusively with tape. “I’ve never made a record digitally,” he explains. “I only use tape machines. It’s how I learned to make records. The fundamental problem with digital recording is that there’s no permanent master. Tapes are essentially permanent. Our dongle went missing for about eight hours one day during a digital session for somebody else and they could literally do nothing. Those are frailties of digital systems.” As a man that’s run his own studio for nearly 15 years, he’s experimented with a range of gear. His favorite piece is the STC 4038 ribbon microphone made by Coles Electroacoustics. “It’s a very highquality, versatile mic,” he asserts. “I use it on a number of things, especially the richer instruments like cello, viola and double bass. They’re not terribly bright, not crisp. But they have a very nice definition.” Artists that he’d like to work with include Crazy Horse, Willie Nelson and AC/DC. “Like Crazy Horse, they do the same thing over and over again and it’s always awesome,” he observes. Recently Albini completed a 7-inch record for Screaming Females. He’ll also record a live album for the band. Contact Steve Albini / Electrical Audio,

20 March 2013

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Peter Schwartz Vice President The Agency Group Years with Company: 19 Address: 142 West 57th St., 6th Floor, New York, NY 10019 Phone: 212-581-3100 Fax: 212-581-0015 Web: E-mail: Clients: Macklemore & Ryan Lewis, Wiz Khalifa, Mac Miller, Busta Rhymes, A Tribe Called Quest, Ghostface Killah, Redman, Waka Flocka Flame, Yo Gotti, Rakim, Big Boi, A$AP Rocky, Dilated Peoples, Dan the Automator

BACKGROUND: After graduating from Syracuse University, Peter Schwartz’s love of music led him to a job working for a video production company. On the advice of his friend’s father, a concert promoter, he interned at the William Morris Agency then later served under Cara Lewis. The Agency Group employed him two years later. There, he’s helped raise the profiles of some of rap’s biggest stars.

kids and saw it was an open area I could get into. Sometimes, you’ve got to be a bit of a chameleon and move into different things that work for you. Game Changer: Before the Internet, if you weren’t on the radio you were kind of underground. I made a career of it, booking artists like Del Tha Funky Homosapien, Mix Master Mike or Ghostface Killa. There were a lot

do they have followers? Have they created any kind of buzz in their own region? An example is Macklemore & Ryan Lewis. They come out of Seattle, not the first place I’m looking for rappers typically, but when you find out that they’re blowing out two- and three-thousand capacity venues and no one outside of the Northwest knows about them, that’s another indicator there’s something good happening.

“There’s no better publicity, excitement and growth for an artist than when you have sold out shows.” Urban Cowboy: I’ve worked in a variety of genres over the years, urban music being my main focus. At one point, I had a lot of reggae clients when the genre was seeing its bigger days. I’ve always been involved in hip-hop. Lately, my roster’s been mainly urban and that’s the genre that’s flourished most for me. It’s also always been my staple genre. There aren’t that many people booking urban music, so it’s definitely a specialized area I’ve made my own. Flourishing Genres: Trends change, popular genres change. Things come and go. I represented probably 15 of the biggest acts out of Jamaica, but I reduced my roster of those clients as things happened like visa problems, the genre deteriorating, seeing a reduced amount of ticket sales and other indicators. I had to scale down how much time I spent on that genre. Following Success: I really enjoy what I do, and having success at it makes it even more enjoyable. I’ve been doing hip-hop for a long time. In my earlier days, I was excited to be working with Arrested Development and Naughty By Nature and all these great acts that were taking off. At one point, I was booking kids’ groups. I had 22 March 2013

of these guys who had buzz and fans but weren’t big, mainstream names. Since the Internet took off, the underground kind of vanished, because now some rapper can put a song on the web and have distribution to the whole world that just wasn’t available before. Indicators: Looking at what’s popular is a great indicator of what’s happening. I sign-ed an artist named Watsky. He had this video where he’s rapping super fast and it had over 20 million views. That is as good as hearing you’ve gotten spins on a radio station. In fact, it’s probably an even stronger indicator. Sifting: I’m pitched groups all day, so it’s tough to decide what is going to go farther instead of just being another artist. That’s a challenge, something I feel I’ve been successful at. I look for artists with different ingredients and the more of them you have the better the potential. Of course, I’m looking for artists with great material and that’s the first thing. I look for artists who have a team of some kind. I look for artists who have press and buzz. I look for a following. Nowadays, social media is so important. Is the artist on Twitter, are they on Facebook,

A Contract’s Just a Piece of Paper: We have standard agency agreements. I don’t want to put too much on the contracts, because this is a service industry. If my clients are not happy with the work I’m doing, a contract isn’t going to do much. It helps if you have some kind of ugly split and want to sue somebody, but if you’re not planning to go to that level it doesn’t matter. Getting Started as an Agent: You need to go to some agency, get your foot in the door and learn the ropes. Most people start as an intern or an assistant. Once you know the structures of deals, then it becomes a case of the talent you can find and book. You can go from having nothing to having a big band and becoming a successful agent in a quick amount of time. Finding those artists, though, is not easy, especially if you’re a new guy and you’re competing with other agents that are established and probably have a lot more to offer. Learn the business and then start moving to high-end clients who can sell tickets. The Long Approach: Everyone’s main interest is: how do I make money and fast? My goal in terms of how I represent my artists is

to not think short-term. How you get money the quickest is by setting up to make the most money long-term. That’s what I try to show my artists. A lot of times, it’s an education process. Most people want a quick hit. I tell them how to make sure they’re bigger, making more money and selling out venues 10 years from now. That’s not a quick hit approach. You don’t just go to an arena. All the artists playing at the bigger sizes have worked their way up. There’s a rare case where someone explodes and goes to the biggest venues, but it usually takes time. I try to push that on my artists as a reality. And if you do the right things, take the right steps and make the right deals, the money’s going to come. Making Moves: Sometimes, people make changes. An artist is out for a few years, you’ve done a great job with them and, for whatever reason, they think someone else can do better. Maybe an artist is with you for a few years and it’s not doing as well as anyone would like; the agent can take the fall. Generally, if you’re doing a good job, they’ll let you keep your job. If you see someone going downward, then maybe it’s time to let an artist go. There’s only so much time in a day and you want to focus on things that are going in the best direction. Playing to Size: The goal is to sell out the venues we’re playing. We book with that in mind. We’re very conscious of the size of the venue, ticket price and demo of the fan. There’s no better publicity, excitement and growth for an artist than when you have sold out shows. It’s a big part of the story for the artist and how we’ve had the most success. That’s the same formula I use for hip-hop, reggae, kids’ music, rock. To me, that is the only approach. Other approaches are short term. If you go to a venue that’s way too big and it doesn’t do as well, it won’t look good. If I put them in a venue that’s going to sell out, then people are talking about it, the promoters are making money, you’ve got a big story. There’s nothing like saying a show is sold out. Book Right: If possible, get to an agent who can help you. Try not to do it yourself. It’s better to do it yourself than not do it at all, but find the right shows to be on. Align yourself with groups that are popular. If you’re from Seattle, don’t try to become popular in Boston yet. Focus on the region you live in and build your base from there. Get Buzzed: Get your music out there. If the music is good, it can go places. You can become a phenomenon in another country. Look at Psy. There’s a perfect example of how one thing in another country can turn out to be an insane craze. Nowadays, groups are being signed based on what’s on the web. Create your own buzz.



usic Connectionâ&#x20AC;&#x2122;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


r4FF.F UIFGBTUHSPXJOHTPDJBM OFUXPSLGPSBSUJTUT IBTBO OPVODFEUIBUIJQIPQMFHFOE 25JQXJMMTFSWFBTBKVEHF for its upcoming music competition. The contest is one of several that will reward the siteâ&#x20AC;&#x2122;s winning users with $125,000 in grants and awards. Additional judges for the music contests, which will reward winners with $30,000 in cash, production and promotion contracts with 0LBZQMBZ FS%PXOUPXO3FDPSET and a feature in i-D Magazine, include %+ 4QPPLZ 'MPTTUSBEBNVT ,BUF&BSM and4USFUDI"SNTUSPOHOne of the most notable awards is the5JNFT 4RVBSF"XBSE in which the winner will have a video created about their work that will be played on the largest video screen in Times Square. For details, visit r4MBDLFSIBTMBVODIFEi"SUJTUTUP 8BUDIJOuSBEJPTUBUJPOThe station will give listeners a sneak peek at the songs, albums and artists that will define 2013, long before festival lineups are announced and

new albums drop. You can listen to Slackerâ&#x20AC;&#x2122;s radio station for free and learn how you can submit your music at Artists-to-Watch-2013. r4UVEJP5SBYYDPNIBTBO OPVODFEUIBUJUJTOPXPGGFSJOH BWBSJFUZPGPOMJOFNBSLFUJOH QBDLBHFTUPBSUJTUT QSPEVD FST NBOBHFST TPOHXSJUFST  BOESFDPSEMBCFMT. These online marketing packages target the most popular social networks including 'BDFCPPL :PV5VCF 5XJUUFS and 3FWFSC/BUJPOThe goal is to increase likes, views and followers across these platforms in an effort to grow an artistâ&#x20AC;&#x2122;s fan base and ultimately drive sales. Founded in 2007, StudioTraxx has been a strong advocate for the creation of music and the creative musician community. The company is expanding its services to provide artists the opportunity to market their music through several compelling online marketing packages. Go to r"SFZPVBNFUBMIFBE If so, you need your Heavy Metal Television. From -BNCPG(PEto.PUMFZ$SVF and from#FIFNPUIUP4IJOF EPXO Heavy Metal Television will bring both current and classic hard rock and heavy metal videos to your desktop, laptop or net ready flatscreen TV. Presented by young, VJâ&#x20AC;&#x2122;s across the planet, no matter what your taste in hard music might lean toward, give the station a look and youâ&#x20AC;&#x2122;ll find a band that you love. The site is 100 percent free, with no login necessary. The music runs virtually nonstop with VJ. interludes and limited minute long commercial breaks consisting of four or five 20-second music related ad clips. Just point your browser to http:// to start watching.

SCISSOR SISTERS ARE ALIVE The Scissor Sisters have toured the world, collaborated with the likes of Elton John and Kylie Minogue and sold millions of albums. U2â&#x20AC;&#x2122;s Bono effusively describes the band as â&#x20AC;&#x153;the best pop group in the world.â&#x20AC;? Now the Sisters are offering a brand new DVD of their performance at Victoria Park in London, on July 17, 2011. Colourful and glitzy as ever, this New York outfit revels in garish costumes and twisted disco sounds that embrace a flamboyant spirit. The DVD features a four-page booklet, two bonus tracks and the smash hits â&#x20AC;&#x153;I Donâ&#x20AC;&#x2122;t Feel Like Dancinâ&#x20AC;&#x2122;,â&#x20AC;? â&#x20AC;&#x153;Filthy/Gorgeous,â&#x20AC;? â&#x20AC;&#x153;Take Your Mamaâ&#x20AC;? and many more. To check it out, go to

PER SE VISIT CONTROLLED CHAOS Fusion ensemble Per Se appeared on Gary Garverâ&#x20AC;&#x2122;s Controlled Chaos radio program to promote their CD release party at The Joint in Los Angeles, CA. Charles Whitehead and Herman Hogan were accompanied by LC Powell for a live, on-air performance. The trio performed songs from their new album, The Roads, and engaged the host in a spirited exchange. Garverâ&#x20AC;&#x2122;s show is broadcast over the GoCast Network to thousands of listeners. To find out more about Per Se, and/or the showâ&#x20AC;&#x201D;which features live music acts each weekâ&#x20AC;&#x201D;go to http://persetheband. com, or email Garver at Pictured (l-r): L C Powell, Herman Hogan, Gary Garver and (seated) Charles Whitehead.

,!"%,3 s 2%,%!3%3 s SIGNINGS

r.VTJDBUUPSOFZ#FO.D-BOFIBT JOGPSNFEMCT#VTJOFTT"GGBJST UIBU-PT"OHMFTCBTFESPDLCBOE "DJEJDIBTTJHOFEXJUI.FHB GPSDF .3* 3&%Their new album Copperman was produced by +PIO 3ZBO 4BOUBOB -ZOZSE4LZOZSE  4UZY FUBM For more information, go to or visit r Backstage UIFOJDIFNBHB[JOF GPSUIFBDUJOHBOENPEFMJOHDPN NVOJUZ JTFYQBOEJOHJUTTDPQF XJUIUIFBDRVJTJUJPOPG4POJDCJET, a social music marketing platform that connects bands, promoters, consumer brands and music fans. The joint reach of the two companies includes 600,000 registered users, with about 60,000 of them being paying subscribers. See http:// and http://sonicbids. com for further details. r4VOTFU3FDPSETIBTSFDFOUMZ TJHOFEUXPOFXBDUTUPJUTSPTUFS #BMUJNPSF .%TBMUFSOBUJWFSPDL BDU1. BOE/FXBSL %&CBTFE OFPQTZDIFEFMJDCBOE$PTNJD 1VODICreating a legacy for rock artists, alternative artists and poprock artists, Sunset Records started to release new material in June of 2008 as a subsidiary of the 4VOTFU %JTUSJCVUJPO$PNQBOZ Headed by chairman and founder %PO -JDIUFSNBO Sunset has signed and released music across a wide range of rock, pop, alternative, metal and soundtracks. For more information, visit r.VMUJQMBUJOVNFMFDUSPOJDSPDL FST0SHZIBWFBOOPVODFEUIFJS VQDPNJOH64IFBEMJOFUPVS  March 2013

EVCCFEUIFi8JEF"XBLFBOE %FBE5PVSuSupporting will be 7BNQJSFT&WFSZXIFSFand %BWFZ 4VJDJEFThe month-long tour kicks off in Phoenix, AZ, on March 2 and will visit several major US cities until its close in Lincolnshire, IL on April 2nd. The bandâ&#x20AC;&#x2122;s new single, â&#x20AC;&#x153;Grime of the Century,â&#x20AC;? was released in the fall and has been well received by radio stations, press and fans alike. Orgy recently finished up a successful tour of the West Coast in select markets and plans to tour Europe in the summer of 2013. The band is currently in the studio recording new music. See r#PC4FHFSBOE,JE3PDLBSF HPPEGSJFOETXIPIBWFUBMLFE BCPVUEPJOHTIPXTUPHFUIFS GPSZFBSTFinally, that vision has become a reality. Two special concerts, featuring #PC4FHFSUIF 4JMWFS#VMMFU#BOE and ,JE3PDL UIF5XJTUFE#SPXO5SVDLFS #BOE will take place in Minneapolis/ St. Paul, MN on March 15, with the second in Fargo, ND on March 16th. Seger and Rock became friends shortly after they met in 2000. Rock inducted Seger into the 3PDL"OE 3PMM)BMMPG'BNFin 2004 and appeared on Segerâ&#x20AC;&#x2122;s 2006 Face The Promise album for a duet of 7JODF (JMMTi3FBM.FBO#PUUMFu Seger appeared on Kid Rockâ&#x20AC;&#x2122;s Born Free album playing piano on his duet with 4IFSZM$SPX Both share an interest in classic cars and have stayed true to their Michigan roots. See and for more. r5IF.JTĂ UTIBWFSFMFBTFEUIFJS Ă STUQSPQFSiMJWFuBMCVNTJODF UIFTThe record Dead Alive!, released on the bandâ&#x20AC;&#x2122;s label Misift Records, is entombed in the ultimate 23

BUSINESS AFFAIRS greatest hits live package for the next generation of horror kids. With select tracks from the bandâ&#x20AC;&#x2122;s encore set at their hometown show in New Jersey added for good measure, (recorded live on â&#x20AC;&#x153;Devilâ&#x20AC;&#x2122;s Nightâ&#x20AC;? no less), it is an audio Molotov cocktail guaranteed to have bonfires burning bright with pumpkin faces all year round. It is available on CD, and Ltd Edition 12-inch vinyl plus an MP3 Card. For additional details, go to

â&#x20AC;&#x201D;BERNARD BAUR mission to bring music and humanity together, while raising health awareness and supporting local cancer programs. For more information, visit

r4JOHFSTPOHXSJUFS $MBJSF Pearson Perry has put a twist on the YouTube model. Perry, founder of Atlanta Intown Songwriters, launched a passion project â&#x20AC;&#x153;Soundtrack of My Lifeâ&#x20AC;? on YouTube. Itâ&#x20AC;&#x2122;s a twist on how indie artists build their fan bases and r5XP$BOBEJBOMFHFOET (PEEPT are discovered, a la Bieber style, by covering todayâ&#x20AC;&#x2122;s hit songs. But, Greg Godovitz and Loverboyâ&#x20AC;&#x2122;s instead of just covering current hits, Paul Dean, have collaborated on Perry invites music lovers into her a new solo album. Veteran Canaworld by performing a cover song dian rocker Godovitz knew Dean with special meaning to her. Each for many years before they ever song has a story that accompanies collaborated on Godovitzâ&#x20AC;&#x2122;s debut it, allowing viewers to not only enjoy solo effort aMuseMe. Godovitz, of an old favorite, but also connect with course, has enjoyed a nearly fourdecade career as singer, songwriter, Perry in a more intimate way. Check out producer and bassist with legendary Canadian power trio Goddo. The seeds for Godovitz and Deanâ&#x20AC;&#x2122;s reunion took place in Calgary, when r'BMM0VU#PZXJMMIFBEMJOFUIF Gregg invited the Loverboy guitarist opening night of this yearâ&#x20AC;&#x2122;s Skate to sit in on his weekly Sunday night And Surf Festival. Slated for May jam sessions at the Blues Can. 18-19, the Freehold, NJ, event has See http://websd-greggodovitzcom. confirmed more performers ing Timeflies, Lights, Streetlight Manifesto, Miss May I, and others. These bands will be joined by A Day To Remember, Macklemore & r5IF'MPSJEB)PTQJUBM$BODFS Ryan Lewis, Saves the Day, BayInstituteâ&#x20AC;&#x2122;s (FHCI) Breast Cancer side, Andrew W.K., RX Bandits, Survivorship Program recently received $15,000 from Rock Pink. Glassjaw, Hopsin, Transit, Into It. Over It., Hostage Calm, Issues, â&#x20AC;&#x153;In 2011, Rock Pink contributed Tyler Carter, This Good Robot, $15,000 to support Florida Hospiand more. Skate And Surf Festival talâ&#x20AC;&#x2122;s Eden Spa and donated over will also host the â&#x20AC;&#x153;The Break Con$20,000 worth of iPads to the hostest,â&#x20AC;? a staple of The Bamboozle. pitalâ&#x20AC;&#x2122;s chemotherapy floors. They Visit have continued to support cancer patients year after year and this gift r9USB.JMF3FDPSEJOHTIBTBOis another amazing contribution,â&#x20AC;? nounced details of a new distribusaid Dr. David Decker, medical tion deal for releases in North director at FHCI. Rock Pink is a America. Teaming up with the charitable organization that is on a



DIY Spotlight:

Ratcliff Bailey

These artists are so DIY they create their own opportunities when none exist. Ratcliff Bailey are two musicians, Tim Ratcliff and Ken Bailey, who realized playing the same old standards in the local bar scene was a slow, agonizing musical death. So, they decided to strike out on their own. Their mindset was to explore any opportunity, no matter how small or unreachable it seemed. Known to play anywhere, any time, for anyone, they report, â&#x20AC;&#x153;We told people weâ&#x20AC;&#x2122;d play a dogfight, because thatâ&#x20AC;&#x2122;s our attitude.â&#x20AC;? They built their own recording studio and upgraded it until it was a full 24-track operation, albeit in a bedroom, and recorded over 250 original songs there. The duo named it Westfield Recording Company because it sounded more professional than â&#x20AC;&#x153;two guys with a small home studio.â&#x20AC;? But, that wasnâ&#x20AC;&#x2122;t really a lie. The company does exist and

Have a successful DIY strategy to share? Email Independent Label Group (ILG), Xtra Mile will now be able to release records from their ever expanding roster across America and Canada. Launching the new partnership with ILG will be the release of the new album by Future Of The Left. These Welsh rockers became one of the most talked about bands at the recent SXSW Music Festival in Austin, TX. According to Managing Director of Xtra Mile, Charlie Caplowe: â&#x20AC;&#x153;The team over at ILG were exactly what we were looking for to launch the label and great artists into this key territory. Weâ&#x20AC;&#x2122;re over the moon about finalizing the deal and canâ&#x20AC;&#x2122;t wait to get cracking!â&#x20AC;? For additional information, go to http://xtramile

HAVING FUND AT GRAMMY BILTMORE HOTEL PARTY Dennis Dreith, Administrator for AFM & SAG AFTRA IPRD Fund & Shari Hoffman manager AFM & SAG AFTRA IPRD Fund hung out with friend Linda Bocchi, the Executive Director Alliance of Artists and Recording Companies (AARC) At The Biltmore hotel Party for The Grammys. Pictured (l-r): Hoffman, Dreith and Bocchi. 24 March 2013

has grown steadily. They wanted their songs heard, so they founded Westfield Radio, and have had listener â&#x20AC;&#x153;hitsâ&#x20AC;? from every continent except Antarctica. The artists even started hosting The Westfield Alliance Indie Show, which is simulcast via eight stations in the US, Canada and Scotland. The program regularly features independent artists from over 20 countries. They won an â&#x20AC;&#x153;Artist of the Yearâ&#x20AC;? award from Viking Radio, and are currently in negotiations with an independent label to release their third recording. Yetâ&#x20AC;Ś just like other acts, they occasionally get ignored when they send out Digital Press Kits, but theyâ&#x20AC;&#x2122;re used to it. In fact, their mission follows their companyâ&#x20AC;&#x2122;s motto: â&#x20AC;&#x153;Fight the Silence!â&#x20AC;? To find out more about these ambitious artists, visit http://

r$IJDBHPNFUBMBOEIFBWZSPDL label Pavement Entertainment has announced a UK/European distribution and marketing venture with UK based RSK Entertainment. Previously announced Pavement joined forces with Sony RED and MRI/Megaforce in a unique partnership and distribution

deal last year. Currently scheduled are releases from Hell Or High Water and Dark New Dayâ&#x20AC;&#x2122;s long awaited release of Hail Mary featuring members of Evanescence and Sevendust. Coming in March is a pure slab of Death Metal from Italyâ&#x20AC;&#x2122;s The Modern Age Slavery entitled Requiem for Us All. For additional information, go to http://pavement r-JWFTIPXSFNJOEFS#BOETJOtown has teamed up with Spotify. In addition to browsing concerts by your favorite artists and Bandsintownâ&#x20AC;&#x2122;s recommendations, Bandsintown Concerts for Spotify allows you to listen to full songs and albums. With the new app, users can create customized playlists of bands & DJs playing in their town, which enhances new music discovery. Search Bandsintown in your Spotify App Finder to test it out. MICRO-BIO: Voted one of the â&#x20AC;&#x153;Top Music Business Journalistsâ&#x20AC;? 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, heâ&#x20AC;&#x2122;s a Contributing Editor at Music Connection.

“I’ve Already Earned $50,126 Using TAXI and My Little Home Studio.” Matt Hirt – TAXI Member

Is your music good enough to

make money?

I was pretty sure mine was too, but I didn’t have a clue how to make great connections. I’m just not good at playing the “schmoozing” game. And even if I was, I had little chance of meeting the right people. I needed a way to market my music, so I joined TAXI and the results were nothing short of incredible. Now, all I have to worry about is making great music. The people at TAXI do an amazing job of hooking me up with opportunities that I would never uncover on my own. I’ve already cut deals for more than 70 of my songs, and they’re getting used in TV shows like Dateline, Law and Order SVU, and The Osbournes. And yes, I’m making money.

studio were good enough. I guess size really doesn’t matter;-)

business, and the cool part is that it’s FREE!

Want to know what does matter? Versatility. Being able to supply tracks in different genres makes you even more desirable for Film and TV projects. I didn’t know that until I became a TAXI member and started going to their members-only convention, the Road Rally.

Unlike some of the other conventions I’ve attended, the panelists at the Rally are friendly and accessible. I’ve never been anywhere that gives you so much great information, and so many chances to meet people who can help your career.

If you joined TAXI and never sent in a single song, you’d still get more than your money’s worth just by going to their convention. It’s three days of incredible panels loaded with some of the most powerful people in the music

If you’ve needed proof that a regular guy with ordinary equipment can be successful at placing music in TV shows and movies, then my story should do the trick. Don’t let your music go to waste. Join TAXI. It’s the best service on the planet for people like you and me – they really can turn your dreams into reality if you’re making great music. Do what I did. Call TAXI’s toll-free number, and get their free information kit. You’ve got nothing to lose, and a whole lot to gain!

I was kind of surprised that the recordings I make in my little home

The World’s Leading Independent A&R Company

1-800-458-2111 March 2013 25 25


SATELLITE PROXY Date Signed: June 2012 Label: Dim Mak Records Type of Music: Dance / Electronic Management: Matthew Stuart / ATM Booking: Joel Zimmerman / WME Legal: NA Publicity: John Ochoa / Mitch Schneider Organization, 14724 Ventura Blvd., Ste. 500, Sherman Oaks, CA 91403, 818-380-0400 ext. 231, Web: A&R: Steve Akoi / Dim Mak Records


ussian beat maker Proxy first shook listeners with his own label, Mako Records. When Tiga’s ship, Turbo Recordings, caught wind of his massive sound through Myspace in 2006, they snatched up the Eastern sensation. With that deal handling distribution in all territories except America, they needed to fill the gap. Dim Mak, Steve Akoi’s label, closed that space. While Turbo executed the deal, Proxy had zero qualms about the agreement. “I trust the guys at Turbo, as they have my best interests at heart,” the producer enthuses.

“Luck plays a factor, but you have to make your own luck!” A level of mutual admiration further aided in smoothing over any potential tensions. “Steve Akoi is a fan, which makes things much easier,” offers Proxy, whose album, Music From the Eastblock Jungles, hit on Nov. 6th. “He is a man I have great respect for. He made a great label with his signings and the team there is superb.” Proxy reports that the negotiations were basic and fair to both sides. “When you are dealing with good people, good things happen,” he muses. As far as bringing his sound Stateside is concerned, Proxy didn’t worry. “America is a great place to tour and be,” he insists. “The crowds are always superb and up for the party.” While it’s still early to declare the move a financial windfall, the agreement has brought him much attention and the label’s backing has allowed him to tour in serious fashion. Most importantly, aligning with a label that specializes in his genre was key. “Luck plays a factor, too,” he advises, “but you have to make your own luck!” The second installment of Proxy’s Music From the Eastblock Jungles series became available on Feb. 11th. ——Andy Kaufmann 26 March 2013

Date Signed: September 2012 Label: Descendant Records / Sony Music Type of Music: Alternative Rock Band Members: Steven McMorran, vocals/guitar; Mitch Allan, guitar; Josh Dunahoo guitar; and Erik Kertes, bass Management: David Mantel / AAM Inc., 917-699-8711 Booking: Ken Fermaglich, Bryan Vastano / The Agency Group, 212-581-3100 Legal: Doug Mark, 310-818-7242 Publicity: Rachel Miller / Big Picture Media,, 212-675-3103 Web: A&R: Jay Harren


atellite vocalist Steven McMorran was hardly starting from scratch when it came time to look for a label deal for his band’s first fulllength album. He and longtime publishing company-mate Mitch Allan, the former frontman of platinum ‘90s act SR-71 (who is Satellite’s producer and guitarist), were already successful songwriters with major connections. But they were starting their own band to release material that moved them unlike anything they’d worked on before; they would need a label respectful of that.

“[Industry gatekeepers] want to be convinced that you’re doing something you have to do.” McMorran had known Descendant Records founder Jay Harren since Harren’s days at Columbia, and eventually the two connected to discuss Satellite’s progress and Harren’s new Sony-distributed indie label. Says McMorran, “Jay said, ‘I know you’ve been building something and I want to let you know I’ve been building something too. I want to build what you’re building with you; we’d be building something together.’ “That sentence stuck with me,” McMorran continues. “I just loved that he cared about it so much.” A contract that McMorran calls “gentlemanly” and “gracious” was presented, and the result is the label’s release of the LP Calling-Birds on March 5th. Prior to Satellite, which represents McMorran’s first-ever foray into singing lead vocals, he spent years as a touring bassist looking for a way to supplement his income by writing songs. Finally, a co-writer friend invited him to a songwriting session that would produce a song Celine Dion ended up cutting for release in 2007. “There was a lot more work to do after that, but yeah, that was my getting-out-of-the-gate moment,” says McMorran. “I think [industry gatekeepers] want to be convinced that you’re doing something you have to do. And eventually time kind of weeds people out, but along the way it also develops [those who are persistent]. And eventually people notice… especially when you stop looking for people to notice!” ——M.D. Moore


HOLLIS BROWN THE STAVES Date Signed: Winter 2011 Label: Atlantic Records Type of Music: Folk Pop Band Members: Camilla, Emily, Jessica Stavely-Taylor Management: Sumit Bothra Booking: Adam Voith, Legal: Erica Bellarosa Publicity: Web: A&R: Gregg Nadel


n their pre-Atlantic Records days, the musical careers of the three sisters Stavely-Taylor (Camilla, Emily, Jessica) were not unlike that of any other artists. They made home recordings. They wrote songs together at their mother’s kitchen table. They earned only enough to finance the next tour. But the Staves’ heavily harmonized folk pop was beguiling enough to attract the attention of both Glyn Johns (Rolling Stones, Led Zeppelin) and Ethan Johns (Ryan Adams, Tom Jones), separately, and prompt the producers to pass along the English trio’s music to Atlantic Records. “They asked us if we were interested in talking to a label,” vocalist Emily says. “We hadn’t really thought about it. Ethan had just worked with Paolo Nutini, who was with Atlantic. He said the label seemed to be very artist-focused and was better than any other label he’d worked with.” Atlantic liked what they heard, and after attending one of the Staves’ performances in London, the label offered the band a deal on the spot. Emily says she doesn’t recall many details of the meeting, only that it was promising enough to accept the offer. “The thing I remember

“Having grown up together, we know what it’s like to be in the car with each other for 12 hours." about the deal is that they were so compromising. There was such a willingness to make it work.” As sisters making music professionally, Emily says they had to navigate the relationship between family unit and band as well as the new relationship with Atlantic. “Having grown up together, we know what it’s like to be in the car with each other for 12 hours. We know how to communicate with minimum dialogue. That can be very helpful in getting stuff done creatively or business-wise, it also means that you kind of have to work at being professional with each other when you need to be. And the three of us had to learn to let other people in and trust that other people are ok as well.” Following a handful of EPs with Atlantic, the Staves released their debut LP, Dead & Born & Grown, late last year, on which the father-andson Johns producers collaborated for the first time. —Jessica Pace

Date Signed: Dec. 29, 2012 Label: Alive Records Type of Music: Americana / Alt-Rock Band Members: Mike Montali, guitar, vocals; Jon Bonilla, lead guitar, vocals; Dillon DeVito, bass; Mike Graves, drums Management: Albert Barabas Booking: Jon Bell / New Frontier Touring, 615-321-6152 Legal: John Rybicki Publicity: Sarah Avrin / Girlie Action Media, Web: A&R: Patrick Boissel


he sounds of rough and tumble blues, southern rock, traditional country, vintage Neil Young and John Fogerty are not musical touchstones necessarily associated with New York City. But that is, indeed, where hometown boys Hollis Brown originate from. Their journey to getting signed with Burbank, CA-based Alive Records was, much like their music, a very natural and organic one. “We recorded a full album independently in Nashville with producer Adam Landry,” says guitarist-vocalist Montali. “We released a few songs from that session and put out an EP in April/May of 2012. One of Alive’s bands, the Buffalo Killers, and us share the same booking agent. They recommended we send the label our record and they were very receptive.” On the strength of that EP, Hollis Brown toured extensively and received strong press on it. That four-song release led to Alive picking up and issuing their current album Ride on the Train. Staying in vogue with the classic and rustic style of the music, the band chose to eschew the digital realm in favor of going analog tape, with minimal overdubs.

“We still own all our songs and they were very lenient with us keeping the rights to our music.” “We’ve done the whole Pro Tools thing and made everything neat and nice,” explains Montali. “But I don’t really think it fits our band sound and how we are. We have more of a direct-to-tape kinda sound. It’s rock & roll, you know!” With songs like the soulful and empathic “Cold City” and the heartfelt “Gypsy Black Cat” you sense the aesthetic of Hollis Brown is all about community and dealing with others on an honest and very open level. And, apparently, that is the kind of relationship they have with the folks at Alive. “We still own all our songs and they were very lenient with us keeping the rights to our music,” says lead guitarist Bonilla. “They wanted us to release the album the way we did it,” continues Montali. “We felt really comfortable with them and they encouraged us to be the artists that we are. They’re gonna promote the record properly and are established at getting bands on the radar. It’s the right opportunity at this time and it’s been great so far. I think people that like a lot of the roster bands on Alive would like us also.” —Eric A. Harabadian March 2013 27

SONG BIZ SESAC SIGNS BOSCO FRANCE SESAC has welcomed artist and songwriter Bosco France for representation. France, who hails from Madisonville, KY, is the 2012 winner of Guitar Center’s Battle of the Blues competition, beating more than 4,000 guitarists throughout the US to take home the honor. Pictured (l-r): Tim Fink, SESAC and Bosco France.

ASCAP SERVES UP MUSIC CAFE In its 15th year as a special program of the Sundance Film Festival, the Sundance ASCAP Music Café continues to provide a fantastic opportunity for filmmakers and music creators to connect in a warm and intimate setting. Pictured (l-r): Eddie Barnash and Jon Batiste, the Stay Human Band; Loretta Muñoz, ASCAP; Joe Saylor and Ibanda Ruhumbika, the Stay Human Band.

Spring Training: Songwriters Sessions

Go to Nashville for the Nashville Songwriters Association International’s Spring Training on April 5 and 6th. This twoday interactive seminar combines the best of large and small group settings. Professional songwriter panels, powerhouse educational segments—not to mention the ever-popular publisher breakout sessions—are all designed to deliver an intensive crash course in the craft and business of songwriting. Featured guests include J.D. Souther, who's one of the principal architects of the “California Sound,” and a co-writer of the Eagles’ “Heartache Tonight,” “Victim of Love,” “New Kid in Town,” and “Best of My Love,” along with Don Henley's super hit "The Heart of the Matter.” Souther will be speaking at the opening session. Hit songwriter Kara DioGuardi will be closing the show with a special interview and performance. For complete information about the event, visit

A License Made Easy from ASCAP

The American Society of Composers, Authors and Publishers (ASCAP) has announced the launch of ASCAP PLAY MUSIC licensing for websites and mobile apps. Designed to make getting an ASCAP license easier and more affordable for individuals and small businesses, the new agreement is at http:// In just three easy steps, owners of qualifying websites and mobile apps can purchase a license online for $240 per year. And with no annual reporting, the license is virtually maintenance free. ASCAP licenses its catalog of over 8.5 million music works to thousands of new and established services, ranging from start-ups to the biggest players on the Internet and mobile platforms, as part of its mission to obtain fair compensation for its more than 450,000 songwriter, composer and music publisher members. Visit for more details.

Croce's 12 Tales

It starts with “Right on Time” as A.J. Croce has launched his most ambitious recording project to date. 12 Tales, a dozen new tracks, recorded by legendary producers “Cowboy” Jack Clement (Johnny Cash, Jerry Lee Lewis); New Orleans’ Allen Toussaint (Paul McCartney, Eric Clapton), and West Coast roots master Joe Henry (Elvis Costello, Solomon Burke) across a variety of American cities. Beginning with the first single, “Right on Time,” produced and mixed in Stamford, CT by five-time Grammy winner Kevin Killen, Croce will release one song each month, culminating with the complete full-length release of the CD at the end of 2013. Details at http://

Downtown says “Oh Yes” to Ono

Downtown Music Publishing (DMP) recently announced the signing of publishing administration agreements for the US with

BMI IN THE SPIRIT JAM AND LEWIS: UNIVERSAL APPEAL The long-running songwriting and production team of Jimmy Jam (right) and Terry Lewis (left) have signed an exclusive worldwide publishing administration agreement with Universal Music Publishing Group. For complete details, visit 28 March 2013

Hosted by BMI Vice President, Writer/Publisher Relations Catherine Brewton and BMI President & CEO Del Bryant, BMI recognized the contributions of gospel greats Edwin Hawkins, Lady Tramaine Hawkins and Kurt Carr at the 14th Annual Trailblazers of Gospel Music Awards Luncheon in Nashville. Pictured (l-r): Yolanda Adams; Del Bryant, BMI President & CEO; Catherine Brewton, BMI VP, WriterPublisher Relations; and singers Amber Bullock and Le’Andria Johnson.



Kobalt has finalized a deal with Dave Grohl to take over the exclusive worldwide administration rights to all of the musician’s music, from Nirvana to the Foo Fighters to Them Crooked Vultures. As part of the agreement, Kobalt will handle all synch and creative opportunities for Grohl’s music, including the new songs that will appear on the soundtrack to his documentary film Sound City - Real to Reel, which debuted at Sundance with the album set for release this month. See http://

Lenono Music and Ono Music, home to the song catalogs of John Lennon and Yoko Ono, respectively. Under the terms of the agreement, which is in effect immediately, DMP will represent Lennon's solo works, including “Imagine,” “Instant Karma (We All Shine On),” “Power to the People,” “Happy X-Mas (War Is Over)” and others. DMP will also represent the complete works of Yoko Ono, from her double-album opus Fly to YOKOKIMTHURSTON, her recently released collaboration with members of Sonic Youth. Previously, the two catalogs had been administered by EMI since the 1990s. The deal is DMP’s first as a stand-alone publisher. Over the past 12 months, Downtown Music Publishing has doubled the size of its copyright portfolio to over 40,000 titles under management. Visit

MediaNet: New Player

MediaNet, the back-end of such digital services such as Mog/Beats and Songza, is




The annual CMA Songwriters Luncheon and presentation of the CMA Triple Play Awards, which honors songwriters who pen three chart-topping hits in a 12-month period, was held at Marathon Music Works in Nashville, TN. Back row (l-r): Neil Thrasher, Rodney Clawson, Ben Hayslip, Josh Kear and Brantley Gilbert. Front row (l-r): Eric Paslay, Dierks Bentley, Shane McAnally and Chris Young. Not pictured: Dave Haywood, Charles Kelley and Eric Church.

expanding its offerings by providing mechanical rights licensing and administration. MediaNet currently relies on the Harry Fox Agency (HFA) to supply publishing licenses for the master rights it provides to services. But now the company is adding research staff so it can conduct direct licensing with publishers not affiliated with HFA. It also plans to offer those services to digital music service providers that do not use MediaNet as their back-end. While MediaNet is competing against players like Music Reports and HFA’s Slingshot operation, it is rumored that at least two of the major US PRO’s are considering entering into the mechanical-rights administration business also. Get details at

Capitol CMG Publishing Launches

Universal Music Group Publishing and the Capitol Music Group and have launched a new publishing entity, Capitol CMG Publishing,

which combines EMI CMG Publishing and Brentwood Benson Music Publishing. In putting together the two Christian publishing divisions as part of rationalizing UMG’s acquisition of EMI, EMI CMG president Eddie DeGarmo was named president of the new merged publishing arm, while Brentwood Benson president Dale Mathews is leaving the company. DeGarmo will report to Capitol Christian Music Group president/CEO Bill Hearn and UMPG North America president Evan Lamberg. In addition to having such songwriters as TobyMac, Kirk Franklin, Chris Tomlin, Casting Crowns and Jars of Clay, the new entity will also encompass such prominent Christian music catalogs as sixsteps, Thankyou Music, Hillsong, Maranatha! Music, Emack Music, Reunion Music and the Sparrow catalogs, repository to numerous legendary gospel and Christian evergreens. MICRO-BIO: Dan Kimpel’s newest 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.

WILLIE AND KRIS: LEGENDARY WRITERS HONORED BMI FLEXES WITH MUSCLE SHOALS BMI and the Sundance Film Festival presented the 11th annual Sundance Snowball music showcase in Park City, UT. This year’s Snowball celebrated the music documentary, Muscle Shoals, which premiered at the festival. Pictured (l-r): Percy Sledge and Doreen Ringer Ross, BMI VP, Film/TV Relations.

Music icons and longtime friends Kris Kristofferson and Willie Nelson (l-r) were both honored by the NSAI (Nashville Songwriters Association International) for their unprecedented contributions to music history. One was bestowed with an award bearing his name, while the other is the inaugural recipient of that honor. The two reunited at Nashville’s famed Bluebird Café, where Kristofferson, the namesake, presented the first trophy to Nelson. March 2013 29



John Braheny 1938-2013 By Dan Kimpel


ohn Braheny, the man known as the “Songwriters Best Friend,” and the author of the best-selling book The Craft and Business of Songwriting, died Jan. 19 in Los Angeles, CA. He was 74. Through his book, his lectures and his advocacy, Braheny cast a major influence over successive generations of songwriters. He was also the first freelance journalist hired by a then fledgling Music Connection magazine back in 1977, to write about songwriters and the songwriting community. Community was the soul of Braheny’s enduring commitment. Along with partner Len Chandler, Braheny was the co-founder and director of the Los Angeles Songwriters Showcase (LASS), a national non-profit organization that provided exposure and encouragement to an impressive list of later-tobe-successful new writers and writerartists from 1971-1996 including Fleetwood Mac’s Stevie Nicks and Lindsay Buckingham, Janis Ian, Warren Zevon, Karla Bonoff, Stephen Bishop, Wendy Waldman and pop music’s most successful contemporary songwriter, Diane Warren, for whom Braheny and Chandler critiqued over 150 songs when she was only 15. The weekly showcases, held at a variety of venues across L.A., featured the publisher song evaluation Cassette Roulette and the A&R/ project sessions, Pitch-A-Thon. Most significantly, these weekly events were the flashpoints for countless collaborative hookups. In addition, LASS’ national membership could send in songs for the appropriate publishers, artists or projects. In 1977, Braheny, Chandler and a tight circle of creative friends— among them, the late Mandi Martin—devised the first-ever Songwriters Expo. For over two decades, this event reigned as the largest and most comprehensive annual education and discovery event held exclusively for songwriters in the world. In recent years, Braheny taught songwriting and music business seminars across North America and classes at UCLA, Musicians Institute, L.A. Recording School (Hollywood) and the Songwriting School of Los Angeles while also consulting and coaching. He was a longtime screener at TAXI, the independent A&R company who hired him early in the company’s history as a consultant. As a journalist, John Braheny published over 600 in-depth interviews for a variety of magazines including the magazine he co-founded and edited for, LASS, The Songwriters Musepaper. John conducted audio conversations with 55 hit songwriters for United Airlines in-flight Entertainment Network from 1998 - 2005, and was the on-air co-host of Samm Brown’s For the Record broadcast on KPFK, Pacifica Radio in Los Angeles. Born in Iowa, Braheny first broke into the music business as a touring and recording artist and released a solo album in 1970 titled Some Kind of Change. His songs were recorded by others including “December Dream” (Linda Ronstadt & the Stone Poneys). Braheny served three terms on the Board of Governors of the L.A. Chapter of the Recording Academy. He was past president of the California Copyright Conference (CCC), and served on the Board of Directors of the National Academy of Songwriters (NAS), the Songwriters Guild of America, and on the boards of advisors for many organizations throughout the US and Canada. On a personal note: when I arrived in Los Angeles, John hired me for my first job in the business, selling advertising space in The Songwriters Musepaper, and I became an interviewer because John needed me to cover when he was unable to interview songwriter and producer Thom Bell (the Stylistics, the Delfonics, the Spinners, Elton John and Dionne Warwick). John loved to play his fiddle and jam with other musicians. His level of enthusiasm for songwriters never waned, and his excitement at discovering new songs and artists was inspiring. When I interviewed John and his wife JoAnn for my book Electrify My Soul: Songwriters and the Spiritual Source, he said, “When people have come to this world with gifts, there are many opportunities for them to either deny these gifts or to embrace them.” John truly embraced what he had been given for the benefit anyone who came in contact with him; to provide an unshakeable moral compass, and an incredible depth of wisdom and compassion. In addition to his wife, JoAnn, John is survived by a brother Kevin, a sister Mary, a son, Michael Toth, a grandson, Evan, and thousands of grateful songwriters. Plans for a memorial celebration are pending. Visit the Facebook page “Friends of John Braheny.”

30 March 2013


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.

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January 2013 February 2012 31

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DROPS Meet John, Paul, George, Pete and Stu in the new stage production Backbeat. Before Sgt. Pepper. Before Abbey Road. Even before Ringo, there were five Beatles. Five rowdy working class lads from the docks of Liverpool, England, rocking out eight days a week in the raucous clubs and red-light seediness of Hamburg, Germany, to create what would become an epic new sound. This stage production, based on the 1991 film of the same name, is their story: the first beat of a musical revolution and an unexpected romance at the heart of rock & roll. Rhino has the soundtrack, which includes chestnuts “Johnny B Goode,” “Twist and Shout,” “Roadrunner” and others. Backbeat will be at the Ahmanson Theatre in Los Angeles, CA, until March 1st. A Broadway run is scheduled for later this year. For more information, contact Joel Oberstein, joel@almightymusic or 818-752-8000. Film music industry veterans Ian Hierons, Seth Kaplan and Christine Russell have launched Score Revolution, an online platform that connects film-music rights holders with music licensing customers worldwide, including advertisers, brands, filmmakers, film trailer houses, music supervisors and other media licensing professionals. The platform has already attracted entertainment companies Studio Canal, Lionsgate, Lakeshore, Constantin Film, Cattleya and Voltage, as well as many other companies and composers. To learn more, contact Lauren Karasek at Fleishman-Hillard, 310-482-4276, or visit http:// VICE Films and Snoopadelic Films have the March 15 theatrical release of Snoop Lion’s REINCARNATED, the feature film that traces the life and career of hip-hop legend Snoop Dogg, as he embarks on a “journey of reincarnation of self” that is equal parts career reinvention and spiritual reawakening. The close-up documentary, directed by Andy Capper, showcases his journey and controversial transformation from hip-hop star to reggae singer while he was recording his forthcoming album REINCARNATED, executive produced by Major Lazer. An official selection of the Toronto International Film Festival, REINCARNATED opens in six cities across the US. For more information, contact Juliette Eisner at Vice Media, 646-825-1773 or 32 March 2013

Award-winning composer Christopher Lennertz wrote the score for Identity Thief, the Aggregate Films/Universal Pictures crime comedy which hit theatres Feb. 8th. The film stars Jason Bateman (Horrible Bosses) and Melissa McCarthy (Bridesmaids). Lennertz recorded the majority of the music for Identity Thief at his new state-of-the-art recording facility, Sonic Fuel Studios in El Segundo, CA. The composer reteamed with several Horrible Bosses musicians including Jane’s Addiction bassist Chris Chaney; Earth, Wind and Fire keyboardist and music director Myron

McKinley; and Beastie Boys keyboardist Money Mark. Lennertz also recorded with a full orchestra at Warner Bros.’ Eastwood Scoring Stage in Los Angeles, CA. The Identity Thief score album will be available March 5, 2013 on La-La Land Records. TV Mania is the art/music/multimedia project from Duran Duran’s Nick Rhodes and Warren Cuccurullo. Discovered recently deep within the vaults after its mid-‘90s creation, the concept album Bored With Prozac and The Internet? will now be released on March 11th. The tracks were constructed by blending television samples and looping rhythm tracks to create a sonically sophisticated collection of songs that now serve as the perfect backdrop for the frenetic energy and atmosphere of today’s digital age. The TV Mania project comes to vinyl and a limited edition box set through The Vinyl Factory and digitally via The Orchard/Beatport. Visit or contact Gina Schulman, gina@pressherepublicity. The Signature Music Series at Berklee has a full season of jazz, R&B, soul, Celtic and mu-

sical theater performances by a cross-section of Berklee students, faculty and alumni, and award-winning musicians. Coming up are The Music of Bill Whelan, best known as composer of Riverdance as well as credits including U2, Van Morrison and Kate Bush (April 11), and Hair: The American Tribal Love-Rock Musical (April 25-26th). Purchase tickets at http://berk, by calling 617-747-2261, or at the Berklee Performance Center Box Office. Featuring an original score by Liam Hayes, who has made music under the name Plush since the early ‘90s, the soundtrack for the movie, A Glimpse Inside The Mind Of Charles Swan III, hits retail March 19 on CD and LP on Night Fever Music. Along with a heavy synth, country and western performed by Jason Schwartzman, the soundtrack also contains a beautiful cover of the Brazilian classic, “Aguas de Marco,” performed by Katheryn Winnick and Charlie Sheen. Hayes was contacted to provide the score by director Roman Coppola, a huge fan. Contact Pam Nashel Leto at Girlie Action Media, The 10th anniversary season of Glorya Kaufman presents Dance at The Music Center continues with TRACES, April 26-28 in Los Angeles, CA, at the

Liam Hayes

U/6U/ / , Music Center’s Dorothy Chandler Pavilion. An Off-Broadway smash combining traditional acrobatic forms with street elements such as skateboarding and basketball, mixed in with some theatre and contemporary dance, the production is making its Music Center debut. During the engagement, TRACES will also perform for over 18,000 local 5th graders as part of the annual Blue Ribbon Children’s Festival. See or contact goldman@


PROPS Currently in post-production is a British musical feature film and documentary titled My Generation Living The Dream. The cornerstone of the film is bands/music from different eras, portraying social realism via music through the eyes of both the celebrated and those still on the music circuit. The film was designed as a platform for young people to showcase their talents and gain experience in the industry by playing themselves while portraying a dogged determination to live their dream. Contact or visit http://mygen Claire “Pearson” Perry, founder of Atlanta Intown Songwriters, has launched her passion project Soundtrack of My Life on YouTube. It’s a twist on how current indie artists build their fan base by covering today’s hit songs and being discovered by YouTube searches, a la Justin Bieber. Instead of covering current hits, each week she will invite music lovers into her world by performing a cover song with special meaning to her. Go to pearsonperrypeople to subscribe. Learn more about Pearson Perry at http://pearsonperrymu or at pearsonper

Claire "Pearson" Perry Composer Atli Orvarsson provides the score to the Paramount Pictures/MGM film Hansel and Gretel: Witch Hunters, which reimagines the classic fairytale, turning it into a dark and edgy adult-oriented thriller. Orvarsson also just completed scoring the film A Single Shot in London. Contact Alex May at Costa Communications, 323-650-3588 or alex@

OPPS Web Radio Central is busy with the transfer of data from WRC to a new website, but because the new website is going to have many more features, they are looking for band photos. Send photo to with the name, genre and location of performer and/or group. Now in its third year, the Driven Music Conference arrives in Fort Lauderdale, FL, on May 16-19 to connect artists with professionals in the music business world. Artists of all genres will be in position for a chance to advance their careers at panel discussions led by Van’s Warped Tour founder Kevin Lyman; Ron Burman (signed Nickelback); Atlantic Records Radio Promotion Manager Johnny Coscia; Mayday Parade Manager Josh Terry; Warner/Chappell Music A&R Marc Wilson and opportunities for those interested in placements for film or TV. Submit music now at http:// for a chance to showcase. All genres welcome. All artists who submit receive one free Two-Day Panel Pass. Teens Channel 17 is a teenager-targeted digital TV channel that provides fully programmed viewing content for ages 12-19. The site airs live events broadcasts of teen events and emerging recording artist music videos from around the world, Teen News, reality talk shows and movies. They are seeking music videos and there is a $100 submission fee.

Out Take

The channel is also offering to provide media production and coverage. Events consulting is required for pricing. To learn more, visit http://

Detroit Rubber is a weekly reality series co-produced by Eminem about the owners of Burn Rubber, a Detroit-based sneaker shop. The program follows Rick Williams and Roland “Ro” Coit as they hustle to help their business survive in the sluggish Michigan economy. The shop has also become a haven for young hip-hop talent, many of whom will be in the series. Contact Michael Moses at mmoses@ Rikki Rockett, longtime drummer of Poison, is shopping a new reality show, American Drums. For nearly a decade, Rockett has been building custom kits for clients ranging from modern day legends-of-rock, to future rockersin-training. He and his misfit staffers at Rocket Drum Works are the only drum-kit makers who can boast 100 percent American made product. Contact Laurie Gorman at 310-550-5256 or for more details.

Rikki Rockett

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.

Clint Mansell Film Composer

EMAIL: c/o WEB: MOST RECENT: Stoker For composer Clint Mansell, there’s nothing quite so exciting as a live performance. The Grammy- and Golden Globe-nominated composer will perform a selection of pieces from his now extensive repertoire at The Orpheum Theatre in Los Angeles, CA on April 6th. This should surprise no fan who remembers either Mansell’s work as guitarist and lead singer for Pop Will Eat Itself, or who has experienced his live performances drawn from other scores previous to the current Stoker: Original Motion Picture Soundtrack. “There’s nothing better than hearing music at a proper volume,” Mansell says of his concerts. The Orpheum concert, where the composer will be accompanied by an eight-piece band incorporating the Sonos Quartet, will draw from Mansell’s history of film scores, though keeping the emphasis on what fans will hear on Milan Records’ new Stoker release. “When it comes to doing live arrangements, it is a continuation of what we’ve done for the film,” Mansell points out. As any filmgoer knows, this is essential because in a film the score comes sporadically, usually in small bites. “We’ve re-worked the score so it has a flow to it while trying to maintain the feel of the film. When doing the arrangements, you want the best moments.” Though he is much in demand as a composer, Mansell plans to continue to bring his music to live venues, despite the time and finances such an endeavor entails. Currently, his schedule calls for approximately three to four shows per year, though Mansell feels he's plenty ready for more. “It depends on the demand,” he admits. “But I really love doing it.” Mansell’s next scores include Filth and Noah, a reunion with director Darren Aronofsky.

March 2013 33

MIXED NOTES SIGNING STORIES MUSE PERFORM GRAMMY NOMINATED TUNES AT STAPLES British power-trio Muse recently played to a packed Staples Center in Los Angeles, CA. Implementing crowd favorites as well as tracks from their 2013 Grammy nominated album 2nd Law, which received an 8 out of 10 in Music Connection, the band showcased incendiary licks, thick bass lines and punchy percussion hardly found in today’s Grammy scene.




The Crystal Method's Scott Kirkland (right) and Ken Jordan perform with Casio's XW-P1 Performance Synthesizer at the Beyond Sound Launch party in New York. Among reecnt accolades, Casio's XW-P1 was a recent recipient of Electronic Musician's "2013 Editors' Choice Award for Affordable Synth Awesomeness."

HIP-HOP AND NFL COLLIDE FOR SUPERBOWL Rapper Wale and New York Giants receiver Victor Cruz attended the Jay-Z & D'USSE Super Bowl Party at The Republic in New Orleans, LA. Other guests included Adrian Peterson, Bob Johnson, Will Clay, Justin Tuck, Braylon Edwards, Keyshawn Johnson, Sway, Trent Richardson and DJ Clue among others. The party was hosted by D’USSE® Cognac, Jay-Z’s preferred cognac. Pictured (l-r): Wale and Cruz.

TEC AWARDS HONORS: TOWNSHEND, ROSE MANN CHERNEY The Les Paul Award was created in 1991 to honor individuals or institutions that have set the highest standards of excellence in the creative application of recording technology. The 2013 Les Paul Award recipient, Pete Townshend, has enjoyed one of the most intriguing, respected and multifaceted careers of any artist in the rock & roll era. The TEC Awards honored Rose Mann Cherney, with The Hall Of Fame Award. Cherney was the first female president of a major recording studio as well as the first woman to be inducted to the TEC Awards Hall of Fame. She is still active in the industry as a principal with the renowned Record Plant Studios in Los Angeles, CA. Get a full wrap-up of the 2013 TEC Awards at

34 March 2013

(l-r): Ocean Way Studios owner Alan Sides, engineer Lenise Bent, engineer Leslie Ann Jones and SAE Director of Operations Bridget Gardner.

Ron Fair and Slash presenting the Hall of Fame award to Rose Mann Cherney.




36 Years 1977–2013



Tidbits From Our Tattered Past

Singer, songwriter and Lenny Kravitz drummer Franklin Vanderbilt was seen rockin’ at the 2013 Guitar Center Drum Off Finals recently. The event was held at the Nokia Center in Los Angeles with KROQ CaboWabo local band finalists. Pictured (l-r): Vanderbilt alongside Ryan Dufford and Jordan Morris of Halfwayband. See MC’s critique of Vanderbilt’s newest demo in the January 2013 issue.

1986—David Lee Roth—Is. #1



Hard Rock Hotel & Casino hosted a weekend of parties in Body English Nightclub & Afterhours with DJs Chris Kennedy (pictured), Peanut Butter Wolf and more. The actor and artist made his second appearance at the club on Feb. 1st. For upcoming events, see



Music Connection’s cover story on the ex-Van Halen frontman found him promoting his first full-length solo album, Eat 'Em And Smile, with his band of virtuosos including Steve Vai and Billy Sheehan. Quipped Roth of his new band setup, "I can get along with anybody as long as everyone shows up. We're gonna make the music and then go on tour forever––that's the program." Elsewhere in the issue, we profiled L.L. Cool J, Charlie Sexton and we picked the brains of major label A&R execs including Ron Oberman, Wayne Edwards and John Guarnieri.

Tap of glam metal—fans aren't limited to young ladies eager to show their boobs. Birthday boy Joey Fatone (of *NSYNC /Dancing with the Stars) got up on stage for a sing-along to Bon Jovi's "Livin' on a Prayer" at the House of Blues on Sunset Strip—or as Steel Panther call it, "House of Boobs.”

1993—Redd Kross—Is. #24

(l-r): Producer-engineer Ross Hogarth, producerdrummer Russ Kunkel, producer-engineer Nate Kunkel and Focusrite president Phil Wagner.

Record Plant founder Chris Stone, producer Mike Clink and Grammy P&E wing Senior Director Maureen Droney.

March 2013

The inherently indie Redd Kross, who'd released music on as many as 30 different labels, were hoping to break through to the mainstream with their album Phaseshifter when MC made them its cover boys. "I credit indie labels for giving us our start," said Jeff McDonald. "But some were very shady and worse than anyone we've ever met at a major label." MC's club reviews spotlighted the band Possum Dixon, among others, and the concert reviews area featured shows by Robert Plant, Lenny Kravitz and Smashing Pumpkins. 35





it is appropriate that the two best-known residents of the town of Concord, NC, are Scott and Seth Avett, namesakes of the band the Avett Brothers. Since 2000, the brothers, along with their honorary “third brother” bassist Bob Crawford and touring and recording member cellist Joe Kwon, have built a steady, grassroots audience for the band’s roughhewn harmonies and emotionally driven lyricism as revealed on their indie releases for Ramseur Records, an NCbased label. Named the Americana Music Association’s Group of the Year in 2007, their presence was elevated significantly when the Avetts entered into partnership a year later with producer Rick Rubin and signed to his label, American Recordings. At the 2011 Grammy Awards, the Avett Brothers performed “Head Full of Doubt/Road Full of Promise” on the telecast, and joined Mumford & Sons to back Bob Dylan on a spirited romp through the bard’s “Maggie’s Farm.” Fast forward to the present: again produced by Rubin, the band’s latest release, The Carpenter, on American Recordings/Republic Records, debuted in 2012 at No. 4 on the Billboard 200, and the band was nominated for a Grammy for Best Americana Album. The close-knit group was dealt a devastating blow in 2012 when Bob Crawford’s infant daughter, Hallie, was diagnosed with a brain tumor. But as Scott Avett reveals, signs are now positive. In this exclusive interview for MC, he exudes a genteel warmth that bespeaks his small town Southern origins.

36 March 2013

MC: Is being the eldest brother, a part of your dynamic? Avett: I work real hard to try and identify when Seth is in the lead role and it’s appropriate and needed and better for the group––delegating, stepping out of the way and knowing when it’s time. I think that’s important for older brothers, because they tend to want to keep control and power and that’s just garbage––a stigma. MC: Since 2008 Rick Rubin has been producing you. Exactly what does he do? Avett: (Laughs) What I gather is that he does something different for everyone he works with, because not everyone jives, or cooperates and agrees with what he does. Cooperate is a bad word, because with us he’s never gone for us cooperating with anything—he’s been a facilitator. I think he listens and trusts us to be what we really are. He helped us slow down in the way that we were not allowing ourselves to do. MC: Such as?

%&'$(#&) Music Connection: “Americana” is somewhat of a catch-all definition, but it seems to embody the Avett Brothers sound.

Scott Avett: It’s one of those words that surfaces out of the confusion of “How do we label this diverse group of music that has an acoustic guitar and other acoustic instruments?” I like the word Americana; I think there is a sound and soul to American music that is some kind of country rock alternative something or other. MC: Even with acoustic instruments––you on banjo and Seth on acoustic guitar––it is evident that the Avett Brothers can rock out. Certainly your country roots are a huge linchpin as well. Avett: That’s what we were raised on. We come from a country music background and environment. If you got a job in the summer it was framing houses, and what played as you worked was 103.7, the country station, and it played non-stop. So through the ‘90s I knew all of the country songs better than I wanted to know them. We were always going against that genre, trying to find out what was in the punk rock, hardcore and hard rock realms. And grunge, that was a huge inspiration for my brother and me. MC: We watched the CMT Crossroads show where you collaborated with Randy Travis, certainly a bedrock country artist. When he

sang your songs, they really fit well into the traditional mode. Avett: I’m with that and it’s good to hear it. I hope that good songs will interchange. A lot of great country songs in that format would probably transfer to R&B or rock songs. MC: If we look at the history of bands of brothers—Black Crowes, Kings of Leon and Oasis prominent among them––there is so much acrimony and turbulence that can exist in the band context between siblings. Avett: I think those turbulent moments are in bands without brothers as well. When it is brothers, it’s easy to emphasize, as in the cases of the Louvin or Everly Brothers. If you read Charlie Louvin’s book or think about how long the Everly Brothers went without talking to each other, it breaks your heart. MC: Why is this? How have you and Scott avoided the syndrome? Avett: My brother and my differences go way back. If you meet a guy and start playing in a band with him when you’re 16 or 17, your relationship begins there. Our relationship started when I was four years old and all of our differences have been growing deeply since then, so they’re probably a little more volatile because there’s a lot of passion in those differences that might not be in people who have not known each other as long.

Avett: Before we were working with any major labels we had bestowed all of these deadlines upon ourselves––little deadlines to life and career oriented goals––that I think were causing problems and hindering the arc. Rick was able to put a bubble around us and say, “Make the arc and then present it, but don’t represent it until it’s great.” Nothing goes out the door until it’s ready. We know that. He’s like a fourth partner: Seth, Bob, Rick and I are four guys who are quality control, making sure that whatever we make together is the best it can be not based on deadlines, budgets or trends. Before, Seth and I weren’t identifying that. MC: In what ways might he assist in this communication? Avett: Rick can also be a mediator for Seth and me––if we need a third and we disagree, and we need to be told by somebody other than a brother. I respect Rick’s work so much. And the beauty is that he’s become a friend. You can’t anticipate or expect that, working with people in the business you have to keep it businessoriented. Maybe keep them from becoming friends. With Rick it’s been really natural. With pieces of the conversation that aren’t fun, fulfilling or rich, we don’t take time for them. We spend time on the good things. MC: Is there a specific emotional environment that Rick constructs? Avett: On the first album he created a challenge, someone to perform for, an audience. We were having a new relationship, so we challenged and pushed ourselves. I was determined to play drums, and I played from eight hours one day, and that was only on two songs. That’s not out of the ordinary, but we only used the track on one. MC: Each of your albums with Rick has shown a marked progression? Avett: With every recording and every good art there has got to be some evidence of exploration or something discovered. And when you have a new audience that’s an opportunity to discover something within yourself. You are performing especially for that audience. That happens every night as well, but here is somebody who has produced Red Hot Chili Peppers’ Blood. Sugar, Sex, Magik, that made us react and perform a certain way. MC: So you won’t reveal strange stories of burning sage, quivering crystals and chanting?

March 2013 37

Avett: All of the enchantment and this mystical vibe and “here’s this legend” were out the window, because we were men on the same level working for something great. Mysticism is such a fabricated and abstract thing; it’s way more about admiration and respect. MC: Speaking of the Peppers, drummer Chad Smith plays on tracks on The Carpenter. It’s always interesting to see a rock drummer who is that versatile, isn’t it? Avett: A great studio drummer can pull off any style. Chad is not tied to any specific genre; that is obvious in what he listens to and his character. Aside from being an amazing performer in a terrific band––and the energy he plays with onstage––he’s a terrific studio drummer. It’s an energy I understand and grew up with and try to bring to the stage. Seeing that energy from someone who has done it 20 years longer than you have and vibing with it––it’s really uplifting and inspiring––it will make you get down! MC: What was it like to play with Dylan? Avett: It was surreal, amazing and a dream come true. And it was a surprising endeavor that when we met for rehearsals out there––maybe

organic endeavor for me. I don’t have sit-down writing sessions; I would be more productive if I did, but I don’t know if I would be writing great songs. I wait, and if they’re great they stick. MC: Is there a specific physical space where you are more productive? Avett: I allow for the natural time to be at the piano, and I have about five different stations that have notebooks and recording devices all over my house, my studio and my vehicle. I try to integrate songwriting into life. MC: So does it then become a part of a larger tapestry? Avett: I was watching a documentary last night about the designers Charles and Ray Eames, and it was saying “Life, work, love, work,” putting it all together: family, life, the things that come with work and integrating it into one big ball. I hope to continue that process. It’s part of the fabric of who I am, and there is no line between the Scott who is writing the song and the Scott who is cleaning up the garbage in the front yard that the dog spread, or is putting the kid to bed, and going out to have beers with a friend who just found out his wife is pregnant. All of those things

Avett: You can only make what you can naturally make; that which is in you. And there’s probably songs that could be on the lighter side and we tried balancing it with sequencing, but once it was said and done it was what it was, our expression as a whole. Consciously or subconsciously, it was our representation of the past couple of years. Maybe it seemed a little heavier, especially when we saw people writing about it. It all happened before Hallie got sick, so presenting it made it seem like even more of a coincidence. MC: “Paul Newman vs The Demon” reflects your rock roots, and in the context of the more acoustic-driven sounds, seems like somewhat of a departure on the record. Avett: Seth brought it to the table. It started as more of a Spanish acoustic thing, and he wanted it to be more straight-up, hard, crunchy electric guitars and distortion. That song is a door that has been opened, because we learned what we’d like to do better and go further. Faster, louder and harder is certainly in our makeup, or slower and harder and more abrasive, maybe even something sludgy.

Quick Facts s The Avett Brothers as we now know them had their origins in Seth Avett’s high school band, Margo, and Scott’s college group, Nemo. s A DIY ethic drove the band’s earliest endeavors as they recorded indie projects and self-booked their tours. s With their 2009 release of I and Love and You, the band became late-night TV mainstays, appearing on shows hosted by David Letterman, Jimmy Fallon and Craig Ferguson. s Scott Avett is an accomplished visual artist influenced by the Italian painter Caravaggio; a Norwegian artist, Odd Nerdrum; and North Carolina printmaker Michael Ehlbeck, who he deems “The Rick Rubin to my visuals.” s The Avetts’ father, Jim, a welder by trade, has released two albums under Ramseur Records, the same Concord-based label that released the Avett Brothers’ music. The group signed with Rick Rubin’s label in 2008. (l-r): Seth Avett, Scott Avett, Bob Crawford, Joe Kwon

Anaheim—it was amazing how quick it went into work mode. “Okay, Bob Dylan is here,” then it switched to we were playing chords, finding keys, seeing what worked and talking to each other. Asking Dylan, “Do you like this seventh chord thing?” And he’d say “Nice,” or “Keep it straight.” In the end Dylan loves to play and so do we. MC: As SESAC songwriters, you and Mumford & Sons and Dylan all share a common performing rights organization. How did you choose SESAC as your PRO home? Avett: We know them. They were a small company when we were a smaller company. We didn’t have anyone else coming to the table. Alongside our other early business connects they were very enthusiastic, and very out there for us, very cool and always willing to facilitate and accommodate what we needed––to answer questions. It was later that the other companies came to us. We’re proud to work with them, and we’ve maintained a relatively personal relationship that is interesting in the business. Nashville is a small town with a lot of big fish––SESAC maintains that. MC: Has the process of songwriting changed for you? Avett: It has changed and it continues to change. It doesn’t reach a stopping point. If it wasn’t changing I would be concerned. The biggest change––and what is hard to go back to––as life has gotten fuller with more family responsibilities, writing has become a more 38 March 2013

coming together are part of the songwriting, the art-making process and a very colorful life. MC: We are aware of the medical challenges that Bob Crawford’s two-year old daughter, Hallie, has been confronting in her struggle with brain cancer. How is her progress? Avett: It’s an ongoing thing. They are preparing to go to Memphis for their third scan since they stopped chemotherapy. She will be monitored for years to come. It’s one day at a time, and that’s led us to our realization that it’s all so fleeting, and we cherish that time together in the studio, rehearsal and especially on stage more than we’ve ever done. Because we were gifted this glimpse into how fragile it all is in a terrifying way. MC: It is interesting that you reference it as a gift. Avett: That’s taken time. If you think in spiritual terms and you search for something positive in such a challenging thing. Bob’s challenges are 10-fold. I don’t have the same kind of challenges; his duties are unreal, and he’s a real champion. But the word “gift?” I wouldn’t put it past him. The awareness that’s come with this and his presence is huge. MC: The overall theme of The Carpenter seems to illustrate this fragility of life and the inevitably of its passing. Was that present in the original concept for the record, or did it emerge through the songwriting?

MC: You are prepping to tour Europe. How do those folks appreciate the Americana? Avett: The audiences are fun. We went one time in 2007 when six of us rented a van on a very small tour. Since then there has been a lot of growth and it’s very exciting. It’s like rewinding here in the US three or four years ago, we play for 1,000 people and many more at festivals. One to three thousand is a great number because we can get intimate. MC: Let’s talk Grammys. Even though you were nominated, you were performing elsewhere the week of the Grammy Awards. Avett: Two shows in Madison, WI and Ann Arbor, MI, so we were booked. It was a tough call for us to not to be there. We tried really hard, but we realized we couldn’t change the dates and we didn’t know or expect the nomination, so we had three nights of crowds expecting us in the Midwest. MC: There is a wonderful line from the song “The One and Future Carpenter.” It says, “We’re all in this together.” It seems to neatly encapsulate the Avett Brothers and your bond within the band, and certainly with your audience. Avett: We’re all under the same sun here. Confusion is beauty and we’re looking for it and it certainly is at the root of a lot of songs. Contact

March 2013 39


'()*+, &# !"#"$%!%#& THE ROLE OF A MANAGER has changed as much as the music business. In fact, the traditional artist team (manager, attorney, agent, business manager) may no longer be practical. Today many artists believe that self-management and outsourcing functions is the way to go, especially in this DIY era. As a result, more acts are learning to manage themselves and doing surprisingly well. Music Connection wanted to explore this development, so we contacted several DIY acts and a veteran manger to find out what it takes to manage yourself successfully.

'()'%*#"*+)'",* 40 March 2013


Burgundy Morgan


RIDDLE THE SPHINX are a group of seasoned and formally trained musicians, inspired by a combination of world and classical music. They have always managed themselves, and gotten some pretty impressive results, including multiple awards and Grammy nominations. In fact, the press has called them “one of the most unique bands in Los Angeles.” The act’s members are also humanitarians, aligning themselves with organizations such as Project Peace on Earth, and the non-profit organization HeARTS Giving Hope.

WHY DO YOU MANAGE YOURSELF It’s the way we’re structured. We never really had a need for management. Part of the reason is that we have a couple professionals (attorneys) in the band who can handle most of the work. Also, we’ve set up a “Finder’s Fee” arrangement in our band agreement. It gives anyone, including band members

would give us an advantage. But the reality is it’s often a whole lot of unpaid work. So, if we’re unable to do something because we’re busy, we’ll just pool our money and hire someone to help us for $8 to $10 an hour.

ISN’T HIRING OUTSIDE HELP PROHIBITIVE Somebody needs to take care of business, and if you can’t do it––for any reason––get help. The fact is many artists will spend more on their bar tab than it costs to hire someone. If you’re serious about it, you’ll either find the money when you need it, or recruit someone to help.

We divide most functions equally, with each person covering a specific area. You would think that having professionals in the group



Being organized and knowing something about the business is important, but I think the right attitude is critical. You can learn to do anything for free on the Internet. But, you should make it “fun.” If you’re not happy doing it, do it differently.

ERIC SLATER has been managing himself for the past two years. He’s had a successful career as a recording artist for two labels and has toured on more than one continent. This artist has also had several managers, but decided to manage himself in order to have control over his music and career. Slater found that, sometimes, managers had a different vision than his own and, ultimately, he was not comfortable following their approach.

WOULD YOU EVER CONSIDER HIRING A MANAGER I doubt it. We don’t need handholding



When you start out, be prepared to manage yourself, because no one else is going to do it for you until you start producing income. Embrace technology. There are so many tools now, anyone can self-manage as long as they’re willing to devote the time. If you’re in a group, use Google Docs to communicate, have a band meeting once a week, and make sure you know who the point person is on any project. Most of all––have fun… and remember, it’s about the music.


and what we can’t do, we outsource. But if a manager had some ideas on how to increase our revenue, we’d certainly listen.

or outsiders, 20 percent of all revenue generated if they bring in a project that produces income. We found that is a strong incentive to make things work.


I’m a big believer in mailbox income. I’d rather pick up a check than play a live gig. As you get older and have more responsibilities, touring and gigging become less attractive. So you focus more on publishing income and new technology. For example, we just streamed a live show online and made more money than we do playing most venues. The beauty of it was we didn’t have to drive anywhere, unload gear and find a place to park. We just had to set up a video camera and broadcast it.


I’ve had managers from my teens through my twenties, and it was sort of like having an enabling parent. They did everything and I gave them the power to do so. Eventually, I realized I wanted to do things my way and, even more importantly, I wanted to take the power back.

IS THERE A SPECIFIC PROBLEM WITH MANAGERS I wouldn’t call it a problem; it was just a different approach. Most managers want to shoot for the top because that’s where the money is. They want to hit a home run by making you a mainstream commercial success. And I bought into that for quite a while. But, I discovered that having a manager did not make people care about me or my music. In fact, sometimes a manager would strike such a hard deal that it would kill an opportunity and reflect poorly on me. And, you know, opportunities are hard to come by today. March 2013 41

WHAT SKILLS DO YOU NEED TO MANAGE YOURSELF You need to believe in yourself and have an understanding of the business. I watched my managers and saw what worked and what didn’t. I became aware of how the business operates and who the players are. That sort of experience is invaluable. But, managing yourself is not easy. You need a sense of direction and a clear vision of what you want and how you’re going to get it.

THE MOST DIFFICULT PART OF SELF-MANAGEMENT It can be frustrating because of the time it requires. You can spend so much time with marketing, promotions, PR and everything else that you have very little time left for your art. In fact, if you did everything conventional wisdom tells you to do, you’d never have time to write a song or play a show. Because of that, you have to prioritize and focus on specific goals and timelines. You need to decide what’s really important. I found that you can’t do everything you want to do, but you can do things that get results.

THE KEY TO DIY MANAGEMENT For me it’s networking and absorbing knowledge and experience along the way. I like to keep aware of what’s happening in the business. I’ll ask questions of every industry pro I meet. I want to know how they think and what projects they’re working on. I try to figure out a way I can help them. If you’re managing yourself, you’re always on the move and always on the hustle.

WOULD YOU EVER CONSIDER WORKING WITH A MANAGER I might consider co-management if it’s the right person. Recently, several potential managers have courted me. But I require a lot more from them than I used to. I want a manager who values my artistic integrity and has the right vision for my career. I want someone who understands me, my music and my influences. I don’t want someone who just wants to exploit me. I’d rather work with someone who respects what I do and how I do it. 42 March 2013



MARINA V is a totally self-sufficient DIY queen who has managed herself for the past four years. She is so effective at self-management, she probably scares off most managers. Her fans have financed all of her recordings and have helped her build an international touring career, with shows in the US, Russia, London, Portugal and Washington D.C. A multi-award winner, she’s appeared on network television and placed songs on popular TV shows, including a Pepsi campaign.

and expertise. But, finding a good manager is a lot like dating. I would only consider that type of relationship with someone who is passionate about my music, and is willing to work as hard as I do.

WHAT SKILLS DO YOU NEED TO MANAGE YOURSELF You have to be smart and organized, and need to know something about the business. Having a strategy and a plan is very important. Strategizing is probably the hardest part. Sometimes it’s hard to be objective about what you’re doing. But, you have to be honest with yourself and decide what’s best for your career.

HAVE YOU EVER HAD A MANAGER I’ve had one official manager and a few unofficial managers. David Krebs (Aerosmith, Ted Nugent, AC/ DC, Trans Siberian Orchestra, et al) was

my official manager for several years. He was very helpful and I learned a lot from him. After we parted ways I found that many people called themselves managers, but that didn’t mean they could do the job. That’s why I’ve had unofficial managers for trial periods. I wanted to see if they could work with me. Eventually, I discovered that I could accomplish a lot more on my own.

BEST PART OF SELF-MANAGEMENT I enjoy being my own boss. It’s fun and creative because there’s really no right or wrong way to do things. Whatever works is what you go with. I’ve been doing it for so long now, I don’t want to ever give up total control. I like the freedom self-management gives you. I look at acts like Madonna, Lady Gaga and Paul McCartney (as a solo act). They’ve all had a personal impact on their careers. They didn’t just rely on someone else for their success. They made it happen.

WOULD YOU EVER CONSIDER WORKING WITH A MANAGER I might consider co-management. But, a manager would have to bring a lot to the table. I would need someone with more connections

YOUR FAN ENGAGEMENT IS AMAZING––WHAT’S YOUR SECRET I love crowd sourcing. My fans are my priority. I ask them for their opinions and always answer their questions. I make them feel like their part of a team, because they are. If a fan asks me to play somewhere, I ask them to help me book a show. If they do that, I’ll give them a house concert. That has gotten me more bookings than just about anything else.

DO ARTISTS NEED A MANAGER When you have so much going on that it’s difficult to handle, it’s nice to have help. But, that doesn’t necessarily mean you need a full time manager. Sometimes just outsourcing a function will get the job done. For example, I have friends/fans help with my website and booking shows. In fact, at this point in my career, I think a booking agent would be more helpful than a manager. I’d love to go on a national tour.


Nambo Enrique


VINYL SOUL are the ultimate DIY duo. Comprised of Nambo Enrique and Jay Hurtado, they utilize a revolving cast of musicians for band dates. Totally self-contained, they write together, produce their own recordings and busk on the streets for extra income. They’ve toured

California and Mexico, and spent six months touring Japan. Their unique fusion of hip-hop Latin soul got them a nomination as “Best Breakout Band” by MTV’s Tr3s, and gave them the opportunity to open for several Grammy winners––all while managing themselves.



A veteran manager who formed Moral Compass Management over a decade ago, Karl Louis developed his skills at Warren Entner Management and Lindy Goetz Management, and has also worked on the label side as A&R for Flip Records, A&R for Victory Records and in the promotions department at the world famous rock station, KROQ. Over the years Louis has been involved with a prestigious list of acts including Limp Bizkit, Rage Against the Machine, Deftones, Red Hot Chili Peppers, Collective Soul, Creed, Sevendust, Matchbox Twenty, David Bowie, Paul Rodgers and Bubba Sparxxx.

We really had no choice. When we started there was no other option. No one stepped up, so

we did it ourselves. We’ve had unofficial managers who specialized in certain areas, but never had a full time manager. Over time, we not only learned how to do it, we learned to like it. It gives you a sense of power and accomplishment that you can’t get any other way.

HOW MUCH TIME DO YOU DEVOTE TO MANAGEMENT I give 150 percent every day. If there were more hours in a day, I would do even more. The fact is no one cares as much about your career as you do. So, if you don’t invest the time why should anybody else?

YOU BUSK ON THE STREETS––IS THAT PART OF YOUR PLAN Playing the streets is a great experience. Every artist should try it. It’s the best gig you can do. You really find out how strong your material and performance chops are because you have to get people’s attention. You have to get them to stop, listen and, hopefully, buy something. We try to do it at least once or twice a week. We’ve built a nice fan base that way and sold quite a bit of product. In Japan we played the streets so often we were arrested for disturbing the peace. But that got us media attention and paying gigs.

OTHER WAYS TO GENERATE INCOME I’m a producer and songwriter for other artists too. I’ve worked with Universal Records, some well known acts and a few up-and-coming artists. My company, btwn musik, does original material in various genres, remixes, and just about everything but mastering. Song placements are also important to us, and we’re starting to focus more on that area.

THE KEY TO SUCCESSFUL SELF-MANAGEMENT Learning the biz is very important, and networking is essential. I go to conferences and industry functions to meet people and learn everything I can. You have to love the business as much as your art if you want to be successful.

DO YOU SEEK OUT ADVICE We’re open to what people have to say. But, you need to be true to your vision. Many times advisors (i.e. potential managers) have their own agenda that may or may not suit you. In fact, the entertainment industry in general, especially those associated with popular culture, has its own perspective. For example, we were asked to audition for America’s Got Talent by the show’s producer. We did one of our songs and they asked us to play “La Bamba.” It was such a cliché, it was sort or funny. But, that’s not what we do, so we didn’t do the show.

WOULD YOU EVER CONSIDER A MANAGER It really depends. If they had something to offer that we couldn’t do ourselves we might consider it. I mean it’s cool to have a manager who has great connections, but it’s not really necessary if you can do it yourself. And, any manager would have to let us be who we are. That seems to be the biggest problem. Often they want you to be true to “their” vision, not yours.

Karl Louis


HAS YOUR APPROACH TO MANAGEMENT CHANGED In the past most managers, including myself, would either manage an artist full on, or not at all. Nowadays, however, the landscape has changed. New tools and technology have made things a lot more interesting. But, they’ve also created more work for everyone. Because of that, I’m more likely to co-manage an act and handle part of their career rather than their whole career, or simply consult with them on an as needed basis.

HAVE MANAGEMENT FUNCTIONS CHANGED They have, and it has made the job much harder. A manager today has to know something about everything. In fact, most managers function like a label. It’s not just about giving artists advice and guidance anymore. Today, managers have to assemble a team that will expand an act’s reach and create a sustainable model.

THE MOST IMPORTANT TEAM MEMBERS You need a balanced team today. There was a time when a manager was all you needed and A&R execs were kings. Now, the most important players are a manager, a booking agent and a song placement specialist. You can build a career with those team members.

WHAT MAKES A SUCCESSFUL DIY ARTIST A successful DIY artist knows who they are musically and artistically. They also know who their fans are and who comprises their community, or tribe. They’re usually business savvy and are driven to succeed. They’re creative, obsessive and work every day on their career as if their life depends on it––because it does.

ARE MANAGERS ATTRACTED TO DIY ACTS I am; they inspire me. Some old-school managers are threatened, though, because it presents a challenge to their authority. But, self-management is part of the new landscape. Most modern managers would welcome an artist who is a real team player, especially one who takes an active part in their own career.

WHAT TYPE OF MANAGER WORKS BEST WITH A DIY ACT The best management for a DIY artist is not always the biggest company. You need someone who is passionate about the artist and their music. You need a visionary who understands that the business has changed significantly. You need someone who will help the artist realize their vision and develop their career in creative ways.

BEST BUSINESS ARRANGEMENT FOR A DIY ACT DIY acts might want to consider joint ventures between a manager and a label. It’s more of an equal partnership. And artists who have achieved success on their own have greater leverage in negotiations. That way you get to have more control over your career and you don’t have to rely on someone else for everything.

ADVICE FOR ARTISTS WHO WANT TO SELF-MANAGE Do it. In the beginning, you really have no other choice. If you have real talent and a compelling work of art that gets results, you will attract people who want to work with you. In fact, I advise every artist to check out the concept of “1,000 True Fans.” Even a few hundred fans––if they’re true fans––can build a career and generate income. Artists who have the right stuff and are willing to work at it can make from $20,000 to $200,000 per year. And that should be the goal of every artist and manager––in other words, to create and maintain a sustainable career.

March 2013 43


By Andy Mesecher

Danny Clinch

BMI Unveils New Logo/Brand -SR. VP Offers Key Branding Advice


hat do the Rolling Stones, McDonald’s into our visual presentation of the company.” and Nike all have in common? Other than While some may argue that keeping a logo worldwide recognition, they also posses consistent is essential to branding, BMI’s Senior iconic logos. Broadcast VP counters by explaining the Music Inc. (BMI)—one of the importance of a positioning three major performing rights strategy. “[BMI’s previous logo] "Branding is evolutionary. You don't flick switches. It's an organizations—understands has been in market for about the importance of that branding, 20 years,” he explains. “Our and has decided to begin a organic process that begins with ideas and corporate/band's goal is to really help challenge new campaign designed to perceptions about what express the concept of value DNA and then it's about how you execute it and get it out there. performing rights organizations for songwriters and music do. It’s really easy to have a publishers. As Richard Conlon, business that’s been around for You need time to grow."— Richard Conlon, Sr. VP, BMI Senior Vice President of BMI, nearly 75 years get painted into explains, “BMI has repositioned a box, [with people thinking] itself in the marketplace on an ‘oh well they only do this.’ One ongoing basis [in the last 75 years] and of our goals on the campaign is to point we’ve had a number of campaigns over up capabilities and how we add value to the years that have refocused us and the markets.” market on what we do. This campaign BMI unveiled its new brand and logo [expresses] what we’re up to [in the at MIDEM (the yearly music technology music industry] and how we’re building tradeshow/conference in Cannes, France) 1) Reach down deep: You must understand your economies for music and for songwriters earlier this year. BMI also secured a spot own DNA and re-establish and confirm who you and music publishers with the rest of the on the back cover of Billboard’s first are, what you’re about and what your values are. world.” issue of the publication’s own rebranding Along with a new logo, the campaign 2) Know your audience: Who is your music/ campaign… That spot was no coincidence. will include three new slogans: Write On; company attracting? Who do you want to follow “We were the first ones at the cash register Powered By; and Valuing Music Since you? Re-assess your target audience and then saying, ‘I want that back cover.’ Here were 1939. The new visual identity will be used profile them. two industry stalwarts: a new Billboard logo for marketing purposes. 3) Know your objective: Do you want to on the front cover and a new BMI logo on Conlon and company spent nearly create a brand image for the top of the charts the back.” 18 months reaching out to development or would you rather be the best cover band in BMI has had quite the résumé of firms, focus groups and BMI songwriters to Bakersfield? Remain focused on your goals. successful acts since 1939. Recently, its perfect the logo you now see here. “When members celebrated several Grammy 4)Understand evolution: Never forget that we started working through this campaign, nominations and awards at the 2013 show, branding is evolutionary. You don't flick writers were talking about how we support including fun., the Black Keys, Frank Ocean switches. It's an organic process that begins their spark of creativity.” and Kanye West, to name a few. with ideas and corporate/band's DNA and then Continues Conlon, “We said, ‘let’s take it's about how you execute it and get it out there. the light that was shining on the stand on Contact Silvia Davi, BMI, 212-220-3127, You need time to grow. our very first logo and let’s shine the light outward and include the spark of creativity

Conlon's Branding Advice To Musicians/Music Companies

44 March 2013

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March 2013

Call a Sales Pro Today! 45


By Andy Mesecher

Producer-Engineer-Songwriter Wants To Record YOU


roducer, engineer and songwriter Christopher Tyng wants to pay it forward by recording your music… free of charge. Tyng is now accepting applications for his Grow Music Project, an initiative created to give back to the music community. Essentially, the project’s concept is a simple one: Tyng and his recording studio team will choose one artist/band out of thousands of submissions to record one song. And while tracking one song in your basement may only take three or four tries, as Tyng explains, this pre- and post-production package is far more in-depth. “A lot of people save up enough money to book a studio for a weekend and try to record 10 songs. Sometimes that works great. What we’re trying to do is give people the opportunity to take three [full] days—off the ‘clock’—to focus on what they think is their best song. It gives them the freedom to not try to get as much done as possible.” So what’s the catch; what’s in it for Tyng and company? “We don't have an agenda in their song in any way,” explains the producer. “There’s no hidden ‘time share’ offer here. Our whole goal is to give these musicians the opportunity to come in and do something really cool then give them all the tools that we can: masters, instrumental versions, etc.” Tyng understands that it takes more than just hard work to make it in today's ever-changing industry. “I was playing with my own band for a few years and thought, ‘god these bands [I’m touring with] are awesome,” he continues. “Even these bands who really had a strong sense of who they were as an artist were still scraping to get their music to that next level.” Since Tyng’s career launched from both hard work and opportunity… he now wants to create that opportunity for someone else.

You see, when Tyng was first becoming interested in the music industry, he was attending college in New York. At that time, he and some friends submitted for BMI’s Pete Carpenter Fellowship—a film/TV scoring contest that would award one entrant with a three-month fellowship in Los Angeles to work under the wings of some of Hollywood’s finest songwriters/composers. One of those composers was Basil Poledouris (Conan the Barbarian, RoboCop, The Hunt for Red October). Tyng hadn’t heard of BMI nor did he realize that winning the fellowship would prove to be a major career accelerator. “Basil really adopted me and became like my West Coast dad,” proclaims Tyng. “He took me under his wing and taught me an enormous amount and threw a lot of opportunity my way… and never did he say, ‘Hey, I want half.’ [I’ve] been really fortunate and now it’s our turn to be part of that circle and do something that creates some positive energy in a business that’s sometimes a little lacking.” Since that time, Tyng has worked as a songwriter, producer and composer at his Santa Barbara, CA studio (just two hours northwest of Los Angeles)—recent works have included Suits and Rescue Me. His competition will accommodate the winning artist/band for the weekend at the Southern California studio, however travel arrangements will need to be covered by the musicians. Along with a free song (which will be pre-produced, mixed and mastered for radio, film and online use), the Grow Music Project will provide a production video for the musician(s) to showcase how the entire process came to fruition. Submission deadline is May 1st.

“[I’ve] been really fortunate and now it’s our turn to do something that creates some positive energy in a business that’s sometimes a little lacking."

46 March 2013


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.

STRFKR Miracle Mile

Badman, Polyvinyl Records Producer: Jacob Portrait


2 Cellos In2ition

Sony Masterworks Producer: Bob Ezrin


Gold Fields Black Sun

Astralwerks Producer: Gold Fields


Swing Out Sister Private View

Shanachie Entertainment Producer: Swing Out Sister

LMNOPQRSTUV 48 March 2013

Who knew indie electronica-pop could be so intellectually satisfying? Miracle Mile keeps ravers on their feet and dreamers’ heads out of the clouds, via dance-worthy club beats mixed with thoughtful, mind-penetrating lyrics and odes. Take “Leave it All Behind,” a trippy, retro tune tinged with faded memories and jaded promises. Vocalist Joshua Hodges’ deep, lyrical reflections and vibrant prose refine STRFKR’s sound without overpowering the band’s laid-back, body-flowing energy (think a less-psychedelic MGMT on synth-heavy tracks like “While I’m Alive” and “Atlantis”). “Miracle Mile” provides an escape to a never-ending party of chill, electrifying tunes and funky sway. ——Danica Bellini This music is in a class by itself. In2ition is the second release for Croatian cellists Luke Sulic and Stjepan Hauser. They are classically-trained musicians, with one foot in tradition and another firmly entrenched in modern and classic rock and pop. Under the tutelage of legendary producer Bob Ezrin, six-string virtuoso Vai goes head to head with Sulic and Hauser on AC/DC’s “Highway to Hell.” Elton John also delivers a soulful version of Fleetwood Mac’s “Oh Well” and Rivera unleashes a provocative take on Muse’s “Supermassive Black Hole.” A listening experience you will not soon forget! ——Eric A. Harabadian If you had played this CD for me and told me that it was the new release by Duran Duran, I would totally have believed you. Melodic, breathy vocals, big keyboard washes buoyed by a funky rhythm section and guitar all conjure up the best aspects of ‘80s British synth-pop. The very modern production is immaculate, and these Australian lads have really done their homework on crafting some very danceable tunes. The themes are just dark enough to keep things slightly unsettling, such as the chorus of “Meet My Friends” (“I saw the faces, I saw the fear”), and the lyrics in “Moves” (“Someone said how Ashley broke his arm...”) A shimmeringly solid debut! ——David Arnson Credit the eruption of the Icelandic Volcano a few years ago for this unique acoustic project, which finds Swing Out Sister—the UK duo of Corinne Drewery and keyboardist Andy Connell—celebrating their 25th Anniversary with soulful, dreamy reimaginings of both familiar hits (“You On My Mind,” “Notgonnachange”) and lesser known but still worthy album tracks (the instrumental, vibes driven take on “Now You’re Not Here”). Not knowing when flights for their Euro tour would resume, SOS decided to record these colorful, grown-up arrangements. Two cool, trippy new interludes enhance a collection which shows off the duo’s jazzier side. ——Jonathan Widran


Full Spectrum ILQC Producer: Tevya “Wisdom” Jones


Old Man Markley Down Side Up

Fat Wreck Chords Producer: Fat Mike, Johnny Carey


Hey Marseilles Lines We Trace

Onto Entertainment/Thirty Tigers Producer: Sam Anderson, Hey Marseilles


Mike Oldfield Tubular Beats

earMusic/Eagle Rock Entertainment Producers: Mike Oldfield & Torsten “York” Stenzel


To say that NorCal’s Wisdom spreads the “conscious” hip-hop would be an understatement, considering he gets much of his inspiration from spiritual teacher Ram Dass. Already reaching the top of the Jamaican music charts, Wisdom’s blend of hip-hop and reggae features the voice of Michael Rose (the legendary singer form Black Uhuru guests on “Chatty Mouth”), and the stamp of approval from UK heroes, Steel Pulse. Fans of Michael Franti and Ozomatli are also sure to dig the message of universal love, and Dakini Star adds the sensual female touch. Sol Rising on scratches ensures that you never forget that Wisdom is keeping it true-school. ——Daniel Siwek Old Man Markley’s sound is marketed as being at the nexus of punk and bluegrass. And while the L.A. seven-piece’s Down Side Up may be on Fat Wreck Chords and NOFX’s Fat Mike produced it, the truth is, there is very little “punk” to be found here. Listeners get crisp production, stellar musicianship, sugary melodies and a slightly more muscular take on traditional bluegrass. And with ballads such as “Beyond the Moon” and “Too Soon for Goodnight,” there is nothing keeping this disc out of the hands of Old Crow Medicine Show fans. Good times await for those willing to check any predilections for gang-shouted choruses and hardcore breakdowns at the door. ——Albert Vega The Seattle rain must be covering everything with a beautiful dewy sheen, given the nature of these six northwesterners’ sophomore release, Lines We Trace. Described by the band as a “folkestra,” Hey Marseilles use rich layers of cello, accordion, sweeping piano, guitar, huge drums that clap and thunder, trumpet and viola to achieve an orchestral variety show of music with shadings of jazz, classical piano numbers and chamber folk with intricately woven hooks. The buoyant pop sense lies within those hooks that come like a downpour, but vocalist-guitarist Matt Bishop delivers the lyrics—heartfelt, concerning love, lament and loss—with the gentleness of a drizzle. ——Jessica Pace British multi-instrumentalist/composer Oldfield has certainly gotten a lot of mileage out of the Tubular Bells “franchise,” with past remakes and repackaging of it as an orchestral work, various re-issues and so forth. But here he takes that seminal piece, as well as a number of his other best known compositions, and gives them a shimmering electronic redux. “Let There Be Light” and “Ommadawn” retain their ambient and trance-like originality, but are given a fresh, intoxicating groove. This disc is, in essence, an overview of the leader’s career highlights but, with added guitar parts and musical passages throughout, the songs take on a whole new perspective. ——Eric A. Harabadian

March 2013 49

NEW MUSIC CRITIQUES Music Connectionâ&#x20AC;&#x2122;s executive committee rates recorded music on a scale of 1 to 10. Number 1 represents the lowest possible score, 10 represents the highest possible score. A final score of 6 denotes a solid, competent artist. For more information, see Submission Guidelines on next the page.

Sleepy Tea

Production Lyrics Music Vocals Musicianship

9 9 9 9 9

Cathy Heller

Contact: Web: Seeking: Publishing, Label Style: Dream-Pop/Indie-Folk Username: sleepytea

Contact: Web: Seeking: Film/TV Style: Singer/Songwriter Username: CathyHeller

e're knocked out by these atmospheric Australians, whose W dream-pop has echoes of Radiohead,

eller has a genius for crafting pop-rock ditties for film/TV H placement. Is there a new gotta-have-

but is quite distinctive. Tremendous tones abound and are given lots of sky to soar in thanks to languid, laidback pacing, all of it punctuated by warm, extremely wet percussion and appropriately gentle vocals. "At The World's End" is the act's opus, an excursion into their collective mind. Though an apparently new project whose moniker fits their sound, this absolutely brilliant Brisbane group seem incredibly ready for the world.

Production Lyrics Music Vocals Musicianship

8 8 8 8 8

Scott James

Production Lyrics Music Vocals Musicianship

8 8 7 9 7


Contact: Web: Seeking: Film/TV Style: Singer-Songwriter Username: scott james

Contact: Web: Seeking: Label, Film/TV, Booking Style: Alt. Indie Pop Username: westland

toryteller, troubadour, coffeshop captain, young artist Scott James S takes the risk of recording with just

ery well-produced power pop comes from this Boston-based V band fronted by Aaron Bonus.

his voice and guitar (or piano), but it pays off due to terrific tone and a vocal gift that echoes Jeff Buckley. Still, his stark, downcast, existential material ("My Road," "Caves In") could certainly benefit from fuller, fleshedout instrumentation. Despite his shortcomings (including a tendency to rely on predictable, walking melodic changes), James' talent and promise are more than apparent. It'll be interesting to hear him progress.

Production Lyrics Music Vocals Musicianship

8 7 8 8 8


Production Lyrics Music Vocals Musicianship

50 March 2013

8 7 7 8 8

it gadget in need of a song for its TV spot?... How about Heller's "We're Good Together," a playful, carefree tune complete with handclapsâ&#x20AC;&#x201D;and whistling! The song builds well and her vocals sit perfectly in the mix. Another catchy hook heralds the confessional "I Am All These Things," whose cathedral chorus singalong is undeniably infectious. "Breaking Free" is a deeper, more direct tale of selfrealization. Heller is a superior talent.

Songs are familiar, but you've gotta admire the level of craft exhibited here. "Steady Now" is the band's best outing, a well-shaped single replete with vocal "Ooo's" that make it a dead-ringer for film/TV. "Jack & Coke" is a bit less engaging due to a complex, meandering chorus and a disappointing guitar solo. The balladlike "Bleed" features a stately cello section and sounds not unlike the band Anberlin if they did ballads.


Contact: Web: Seeking: Label, Bookijg, Mgmt, TV, Radio Style: Rock/Alternative/Pop Username: everlyn

Contact: Web: Seeking: Booking Style: Rap Username: insomniamusic

hough based in Spain, this female-fronted guitar-driven band T have an altogether Anglo sound that

oronto rapper Jakob22 understands a good hook, and he T drops a nice one in the Tupac and

reminds us of Paramore. The band's best is "Time to Change," which packs a powerful chorus complete with repeatedly descending "ohhhhs" and spot-on drumming. The twitchy, energetic "Dream" has a throwback sound due to prominent vintagevibing synths that really tear it up. The hooky, melancholy sway of "Stars" shows that singer Karol carries a tune ably, though there is still room for her to grow and learn to strut her stuff.

Production Lyrics Music Vocals Musicianship

7 7 8 8 8

Atmosphere-influenced "Release Me" where he teams with rapper Flex. A female guest on "Make You Smile" adds lightness to a heavy and dark song whose lyrics dwell on struggle and pain. Epic and large, with dramatic church bells, the funereal "In Your Dreams" deploys a creepy organ and is carried by a unique non-western beat. What's impressive is how, on each track, this brooding artist sticks to his signature style.


Thoughts In Reverse

One Day Steady

Contact: Web: Seeking: Label Style: Progressive Metal Username: thoughts in reverse

Contact: Web: Seeking: Label, Booking, Film/TV, Agent Style: Alt. Rock Username:

houghts In Reverse seamlessly blend the blasting of metalcore with T the heaviest and slowest breakdowns

Production Lyrics Music Vocals Musicianship

8 7 7 8 8

of early hardcore. Vocalist Magee reminds us of early Misery Signals while drummer Stuhler is tenacious. "Keep it Wolf" showcases more metal with tough-guy chants… hell, even the breakdown has a breakdown. "Mentality" adds more melody and a higher screaming cameo. What stands out is TIR's determined heaviness, even when the guitars call for a clean chorus (with the exception of "Dead Poet")—which may grow to be their calling card. Keep working, guys.

here's good material and loads of happy energy here (the drummer T impresses) but it all needs more help Production Lyrics Music Vocals Musicianship

7 7 8 8 8

from the production. The upbeat, organic, earnest "Dave's Song" is promising but the chorus doesn't get the push it needs. The drummer is again the MVP on "Shine," which takes too long to get to its chorus. "Break Break," however, is a funny song that morphs into a drunken frat-party singalong. Its only shortfall is the tentative guitar of singer Ryan Peters. Hire a gifted soloist, guys, and let Peters command the mic.


Production Lyrics Music Vocals Musicianship

7 7 7 9 7

Campaigning for Zeros

Contact: Web: Seeking: Label, Booking, Film/TV, Tour Support, Product Placement Style: Modern Rock Username: neverwonderband

Contact: Web: Seeking: Booking Style: Alternative Username: Campaigning for Zeros

straightahead rock quintet features new lead singer Alima Soul and A proves they made the right choice—

n extremely '90s punk sensibility bleeds from these basement-style A recordings from Campaigning for

the girl can really belt it on both lead and backups. The soulful ballad "Spinning" brings impressive vocal energy and varied percussion. "Help Me," however, needs more power in the chorus. "Let It Out" presents a funky rhythm vibe a la Red Hot Chili Peppers. The band's overall attack yields solid results, but for this material to stand out, these overly contained pocket players really need to step up and make something happen.

Production Lyrics Music Vocals Musicianship

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Zeros, as in the Green Day influenced "Sour Glass." The low-fi sensibility does the band little favors, though, as their instruments, especally drums, lack power. "Multiple Attempts, Still Nothing" has a nice doubling effect in the chorus, but the track sounds as if the bassist did the mix. Eric Taylor's angsty lead vocals provide a proper edge to the proceedings, and if the band were to get into a good studio, this project would benefit greatly.

Dead Legend

Production Lyrics Music Vocals Musicianship

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Shamiah Trenae

Contact: Web: Seeking: Label, Booking Agent, Film/TV, Distribution, Management Style: Hard Rock Username: deadlegend

Contact: Web: Seeking: Label, Distribution Style: Pop/R&B Username: shamiah trenae

ith one boot firmly in the past (early '90s), Dead Legend deliver W grungy, straightforward rock that's

ennessee-based R&B/pop artist Trenae is unable to convince us T she's a viable R&B performer with

relatable due mainly to its familiarity. "Numbers Down" shows Nico Johns' firm grip on the mic and his Axl Roseon-ritalin stance. "In America" is a heartfelt slice of love for the homeland whose guitar solo from Otis Paul Smith succeeds despite a squall of cymbals. An all-out riff-rocker, "Searching" suffers from the same affliction as the rest—a persisently muddy organ in need of EQing. We suggest using the organ only on the choruses.

Production Lyrics Music Vocals Musicianship

7 7 7 7 7

her sexy/sultry "Love" and "Nothing Like This." Both are handicapped by sub-par production, including Autotune and vocal compression. Though her voice is competent she never attempts to really catch fire, seeming content to blend in. With its K-pop groove "You Can't Tell Me Nothing" is the artist's most commercially viable work, a good showcase for her as a dance/pop act, something for which she seems much better suited.

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 and click on “Get Reviewed.” All submissions are randomly selected and reviewed by committee. March 2013 51


Liberation Day O’Brien’s Pub Allston, MA Contact: Web: The Players: Chris Kenneally, vocals, guitar; Chris Tatoyian, guitar; Becca Frank, synth; Jeff Harrington, drums; Joe Morency, bass. Username: Liberation_Day

Musicianship: Weaving a dreaded tapestry of toe-tapping fizz around an emotional center of fatalistic romanticism, the five-piece effortlessly stitch their sound into a sumptuous whole. Harrington’s drums grant this group a marvelously full-bodied sound, but it’s Morency’s bass that satisfies one’s soul. One could question whether Frank’s synth remains necessary, but guitarist Tatoyian tantalizingly spices their flavor with experimental feedback. Performance: Vocalist Kenneally exuded a delectable stage presence, comfortably introducing songs before punctuating their execution with a true entertainer’s expression. The others, for the most part, didn’t radiate the same élan, instead maintaining a distant


Material: Despite declaring themselves a postpunk / indie project, Manchester, NH’s Liberation Day inhabit a unique space that distinguishes their sound from those sagging genres. While rhythmic and fun, the group's foreboding bass and squealing guitar interjections infuse their style with an ominous sheen that’s as sinister as it is exuberant, making them something like the ideal party soundtrack to the end of the world or an apocalyptic miasma that makes you want to dance.

Liberation Day: An apocalyptic miasma that makes you want to dance. separation that, one might argue, actually fit better with their tragic musical persona. Things intensified toward the conclusion of their under 35-minute set when the frontman amped up his physicality, playfully bumping into his partners before hurling himself off stage. Harrington placed the evening’s final exclamation point when he dispassionately wrecked his drum set. Summary: An enormously entertaining effort, Liberation Day strike a harmonious balance

between anarchic pessimism and romantic pop. Their greatest weakness remains a lack of memorable hooks, a fault they seem aware of as they reserved their catchiest tune for their ultimate sendoff. There’s work yet to be done before they stand above the rest, but this group conjured an outstanding foundation upon which they’ll inevitably build. It’s invigorating to contemplate where Liberation Day travel once they’ve plundered their core. ——Andy Kaufmann

Caro Emerald El Rey Theatre Los Angeles, CA

Material: To categorize Dutch singer Caro Emerald under a single genre would only be cramping her style. Indeed she is a trained jazz vocalist, but her material is a multifaceted masterpiece colored with Latin, funk, pop and big band influences. Supporting herself with an eight-piece band, including a brass section and a scratch DJ, Emerald delivers a retro feel with modern appeal. With catchy tunes like “Back It Up,” a Dutch chart-topper for over 21 weeks, and “A Night Like This,” the singer marries the right amount of classic period characteristics with cultural flavors to allure listeners from all walks of life. Musicianship: From her vocal strength to her shining personality, Emerald is close to flawless, making the fact that she is classically trained no surprise. Despite rare moments of her vocals burrowing beneath the band’s big sound, which is easily fixed with slight changes to the mic levels, Emerald is able to sing her emotions through facial expressions and body language alone, allowing the fleeting moments of drowned vocals to go unnoticed. Overall, Emerald and each of the eight


Contact: Web: The Players: Caro Emerald, vocals. Username: caro emerald

Caro Emerald: Multifaceted masterpieces colored with Latin, funk, pop and big band influences. members of the band know how to put on a show. Performance: Just as the packed venue began to grow antsy, the curtains parted and the band broke into an upbeat jam session, introducing the headliner with a creative DJ triggered narrative. Shortly after, Emerald took the stage with an intoxicating smile that quickly settled the impatient bustle. Within 30 seconds of “You Don’t Love Me,” the fans were high on excitement, singing every lyric. Although this was their first show in the US, Emerald

and her band owned the stage as if they had been there before. The ecstatic singer glowed with a genuine confidence. She showed much appreciation for her fans, as well as her band, as she shared the spotlight with class, giving each musician a chance to show off. Summary: Caro Emerald is a bona fide entertainer, and with her immense success overseas it is only a matter of time before she makes her mark in the US. The singer’s soulful style and culturally diverse material is sure to find an audience. ——Allegra Azzopardi

GET YOUR ACT REVIEWED: See Please DO NOT mail a package. 52 March 2013


Jimmy Binks and the Shakehorns Mandala2

Kichijoji, Tokyo, Japan

Material: Jimmy Binks and the Shakehorns provide crowd-pleasing original material and intelligently chosen covers, which they make their own. Originals blend bluegrass, old-school country, roots and Irish folk. Apart from the one classic rock cover, their borrowed repertoire is exclusively Urban music. The effect being more infectious than comedic, pogoing breaks out during raucous covers of Outkast’s “Hey Ya,” and Coolio’s “Gangster’s Paradise,” which they offer as an encore. Standout originals include the bluegrass-flavored “Half the Time,” and “Such a Smile,” the latter earning a song placement in NBC ’s The New Normal. Musicianship: Sam Berry delivers his storytelling vocals like Boxcar Willie, while performing rhythm guitar on his Martin. Julian Peters brings Chet Akins-like leads and bluegrass picking on his own Martin, and contributes equally professional vocals. Yuuki Shiroma plucks bass lines with the feel of a jug or an upright, and drummer Darren Scaife wields his brushes masterfully, seamlessly transitioning the band from genre to genre. Tim Marchand switches between percussion and saxophone with ease, and provides competent backing vocals as well. Guest musi-


Contact: Web: The Players: Sam Berry, lead vocals, guitar; Julian Peters, guitar, vocals; Yuuki Shiroma, bass; Tim Marchand, percussion, sax, vocals; Darren Scaife, drums; Jonathan Bojarzin, mandolin, lap steel, harmonica, cowbell. Username: jimmybinks

Jimmy Binks and the Shakehorns: Bluegrass, roots and Irish folk originals blended with urban covers. cian Jonathan Bojarzin proves his worth as one of Tokyo's finest multi-instrumentalists, fleshing out the songs on mandolin, lap steel, harmonica and cowbell. Performance: Lead vocalist Sam Berry greeted the crowd warmly, receiving playfully hostile responses like those of a British pub crowd. After the third song, Berry announced that they had to strip a bit, because they were going to speed things up. Cheers erupted as the audience noticed that the band were wearing brand new Jimmy Binks t-shirts as undershirts. Humor, being an essential part of their lyrics, was also used effectively between songs. “While you’re on your way to the toilet, you can buy our CD” and, “This next song is about murder, not that I think murder is funny,”

being two of the best lines of the night. Having six musicians on a small stage didn't allow the band to run around, but the audience was given more than its money’s worth in the form of tasteful jamming and solos worthy of Tom T. Hall's backing band. Summary: Jimmy Binks and the Shakehorns are a crowd-pleasing country band who have found their sound as well as their audience. The main point holding them back may be choosing venues that limit their movement too much. With better PR and management, this band could vie for success on an international scale. Very inspiring, both to watch and to listen to, Jimmy Binks and the Shakehorns are definitely worth keeping track of in the next few years. ——Laurier Tiernan

Louise Goffin The Hotel Cafe Hollywood, CA

Material: Louise Goffin is the daughter of Gerry Goffin and Carole King and you can expect to hear their influence in her music. Songs of friendships, farewells and personal evaluations are exemplified by “Archives” and “Two Different Movies.” Cheap hotel rooms, lonely train cars and long stretches of empty road tells a story which Goffin explained is, “picked up on the highway of life.” Musicianship: Tension and tempo are central to the work; stark with only vocal and instrument for the first verse, then building with the full band to a crescendo. Goffin continually adjusts sound levels for the variety of instruments and styles. It would be nice to see an actual horn section rather than synth for the mod pop opener, “Dance (With The One Who Brought You)” and the artificial Hammond organ is excessively in the mix on “New Year’s Day.” MacIntyre adds subtle cymbals with soft mallets and good oldfashioned kick thumping to work up the crowd


Contact: Web: The Players: Louise Goffin, lead vocalist, multiinstrumentalist; Craig MacIntyre, drums; Bob Glaub, bass; Billy Harvey, vocals, guitarist; Lee Curreri, piano, keyboard. Username: Louise Goffin

Louise Goffin: Grammy-nominated producer performing with soft elegance. for the country jams. Glaub steals the show, banjo took a pit fall not once but twice, becoming locking in his bass lines with his pumping Mesa a character in the show as Goffin explained, “A Boogie amp. good instrument is like a good relationship.” Performance: Goffin and Harvey traded lead vocals to spotlight two originals by Harvey, which added an Americana flair to the set as Goffin took to banjo. The show stealer was “Clicking To The Next Slide,” which she explained was a reference to View-Master toys used as a metaphor for childhood perceptions of time. The song was stylistically comparable to Lenny Kravitz or Jason Yudoff. The banter between songs was fun; that heavyweight contender

Summary: The hot feature of Louise Goffin’s set is “New Year’s Day,” a selection from Goffin’s first Grammy-nominated album A Holiday Carole which she produced for Carole King. The songwriter was dared to play this piano-based song on guitar and did so with a soft elegance that held her audience breathless. She excels at this ability, resonating with her audience as much as the music’s sustain. ——Brooke Trout March 2013 53


People Under the Stairs El Rey Theatre Los Angeles, CA

Material: People Under the Stairs (P.U.T.S.) combine ingredients of hip-hop, rock, disco, funk and soul into one pot to serve listeners a dosage of reality straight from the city of Los Angeles. Think Run-DMC meets the Beastie Boys with a touch of Steely Dan. Songs such as “Can’t Hold It Back” profess their love for hip-hop and for their fans over a smooth, jazzy instrumental, while “Time Bandit” uses more guitar, cymbals and hihats, placing P.U.T.S. in position to showcase their dominant verbal charisma. Classic favorites like “San Francisco Knights” are guaranteed to have everyone in attendance in a relaxed, groovy mood. The music converges on feel-good topics as well as current events, confirming that P.U.T.S. are the go-to Los Angeles ambassadors of underground hip-hop. Musicianship: P.U.T.S.’ unique chemistry and shared ability to utilize every live instrument in their set confirms the duo's musical prowess. Thes One is dedicated to proficient production— see “We Got It”—which allows him and Double K to musically shine over two turntables and a mic. Performance: This group know when and how to complement each other during a performance. Their stage energy electrifies and is nothing less than innovative and exciting.

54 March 2013


Contact:, 323-334-6917 Web: The Players: Thes One, Double K. Username: People Under the Stairs

People Under the Stairs: Los Angeles ambassadors of underground hip-hop.

They demonstrated carefree crowd participation—Thes One even took someone’s beer in the front row and drank from it. Double K followed suit by talking to the crowd between songs, touching on the Sandy Hook massacre. They looked like they were having a sincere, intimate time not only with each other, but also with everyone in attendance. The set closed with P.U.T.S. performing the first song they ever made together. Plus, Double K brought out his mom, sister and brother and close friends to continue the send-off.

Summary: People Under the Stairs are indie hip-hop veterans who have never really cared to change over into the mainstream. They understand the underground is where they continue to excel. Double K said it best: “We’ve traveled to six continents and make six figures a year.” These guys are role models with a live show performance that is truly unparalleled. One can only imagine how spectacular their live sets will be from here on out. ——Adam Seyum



Bar Lubitsch West Hollywood, CA Contact: Web: The Players: Kawehi, toy piano, vocals Username: Kawehi

Musicianship: Her vocal tone has a nice airy quality that creates a well-blended sound; something that is imperative when making music solely with one’s voice. Kawehi begins every song by laying down its beat and multiple musical lines. Her knowledge of these different lines is impressive and it truly sets her apart from other singer-songwriters who bring only guitar and vocals to the table. Performance: Kawehi has utilized Kickstarter to fund three EP's to date and the songs she performed were a part of those projects. For top donors, Kawehi has written songs on the topics of their choosing, allowing for diverse lyrics, which she partners with satisfying hooks and catchy melodies that are reminiscent of much current pop. She made the toy piano she played on her mash-up of “Tainted Love” and “Where Did Our Love Go” sound anything but childlike.


Material: Kawehi delivers a sound that we’ve heard before, but one that is created in an unconventional way. She is a one-woman a cappella group, complete with beat boxing and effected bass lines that help fill and texture the sound. This is possible with the assistance of a looper pedal used to stack harmonies and instrumentations—making her voice as the only instrument needed.

Kawehi: A one-woman a cappella group, complete with beat boxing and effected bass lines. Songs like “Lucy” showcased her ability to write memorable melodies. “Neda” highlighted lyrical expertise that is often forgotten about amid pop music’s lightness. While it was difficult to get to know Kawehi as an artist in her four-song set, she added the right amount of stage presences and (much needed) focus to the performance. Summary: Kawehi's brings intelligence to the singer-songwriter genre. Her direct funding and creating technique allows for interesting songs

that are more substantial than a lot of produced pop. The danger of using a loop pedal is that if one note is even the slightest bit sharp or flat a musician’s only options are to start over or have the entire vocal instrumentation sound dissonant (and not in a nice way). Tightening up her pitch and providing the audience with longer set lists will allow Kawehi’s performances to showcase the unique artist she promises to be. ——Karen Emmert

Paula Cole City Winery New York, NY

Material: “I am so ordinary” sings Paula Cole; in a song from her first album Harbinger, reflecting on the pain and disappointment of being the back-up girlfriend. But rest assured, there is nothing ordinary about Paula Cole. An established Grammy-winning songwriter and performer for the past two decades, Cole continues to wow audiences with her live show and profound take on life and on love. Her sound is contemporary but there is also a connection to iconic women songwriters of the ‘70s like Joni Mitchell who are adept at writing deeply personal songs while turning them into hits. “I Don’t Want to Wait,” written for her grandfather (and also the theme song for Dawson’s Creek) is so musically memorable most everyone in the room can hum the instrumental intro—which she encourages the audience to do. Cole also introduces the brand new song, “Eloise,” which will be the title track on her forthcoming April release, Raven. Musicianship: Her warm, dark voice is drenched in emotion and Cole knows exactly how to get the most out of it alternating from explosive and full-voiced to hushed and breathy during more tender moments. Her piano work is highly musical and a true reflection of how the songs were created. Joined by guitarist-singer


Contact: Web: The Players: Paula Cole, vocals, piano; Mark Erelli, guitar, vocals. Username:

Paula Cole: Grammy-winning songwriter with a warm, dark voice drenched in emotion. Mark Erelli, (an accomplished artist in his own right) they create a vocal blend that elevates the performance to an even higher plane. Performance: Following a chronological timeline of sorts, Cole began with songs from Harbinger which she connected to her “formative” years in New York City. From there she moved on to “I Believe in Love” from Amen which became a hit as a dance re-mix. She saved the biggest hits for the latter part of the set. “I Don’t Want to Wait” followed by “Where Have All the Cowboys Gone,” her unique tongue-in-cheek take on male-female relationships while poking fun at gender stereotypes. She closed the show with a striking

version of Dolly Parton’s “Jolene” complete with beat box solo. The taut and well-planned set left audience members wanting more, but certainly offered plenty of the Paula Cole experience. Summary: Paula Cole is an outstanding and committed performer who immerses herself so completely in every song that you are instantly drawn into her vortex. She continues to write new material while keeping her earlier work very much alive. Shedding undue pressures that a major label puts on artists these days, Cole is breaking free from that arrangement and doing it her way with a loyal fan base behind her. ——Ellen Woloshin March 2013 55

30 Annual Directory of th

Download This Directory From Our Website

Managers & Agents

Download This Directory From Our Website:

Compiled By Denise Coso


usic Connection’s exclusive, national directory of managers and booking agents will allow you to reach out to the firms of your choice. All data is updated with information supplied by the listees. MANAGERS

4 STAR ENTERTAINMENT New York, NY E-mail: Web: Contact: Todd Frank Styles: Pop, Rock, Oldies Clients: Mo’Nique, Cedric The Entertainer, Isaiah Washington, Yolanda Adams, the Trammps, Mary Mary *No unsolicited material 5B ARTIST MANAGEMENT 1755 Broadway, 3rd fl. New York, NY 10019 212-445-3500 E-mail: Web: Styles: Metal, Rock, Alt. *No unsolicited material Additional location: 1605 Pacific Ave. Venice, CA 90291 310-865-4808 AAM 7 W. 22nd St., 4th Fl. New York, NY 10010 212-924-2929 E-mail: Web: Contact: Matthew Clayman Styles: Alt., Rock, Pop, Indie Clients: Call for roster *No unsolicited material, represents producers only ABBA-TUDE ENTERTAINMENT 311 N. Robertson Ave., Ste. 505 Beverly Hills, CA 90211 818-991-7399 E-mail: Contact: Mark “Abba” Abbattista Styles: All Services: Personal management, legal *Accepts unsolicited material A.C. ENTERTAINMENT 52 Carmine St., Ste.12 New York, NY 10014 212-741-3083 Fax 212-924-0333 E-mail: Web: Contact: Anthony Countey Styles: Punk, hip-hop, alt., rock Clients: Bad Brains, Dufus, “Dr. Know” aka Gary Miller, Darryl Jenifer (producer), Blakvova *Accepts unsolicited material, but not seeking new clients 56 March 2013

AFRICAN MUSIC SOURCE 2519 Nason Ave. El Cerrito, CA 94530 510-778-1885 E-mail: Web: Contact: Baba Ken Okulolo Styles: African Clients: Baba Ken & Kotoja, Baba Ken & Afro-Groove Connection, West African Highlife Band, Baba Ken Okulolo & the Nigerian Brothers *Accepts unsolicited material AIC ENTERTAINMENT 321 High School Rd. N.E. Ste. D3, PMB 210 Bainbridge Island, WA 98110 206-781-3956 Fax 206-781-3957 E-mail: Web: Contact: Amanda Case Styles: S/S, folk, pop, rock, americana, jazz, world Clients: Ian Moore, Two Loons For Tea, Spottiswoode & His Enemies, Modeste, Joel Dilley, Bett Butler, Swati, Bronwen Exter, Don DiLego, David Berkeley, Jamie Hutchings, Sophie Hutchings, Beautiful Small Machines. *Accepts unsolicited material, call or email first AL BUNETTA MANAGEMENT 33 Music Sq. W, Ste. 102-B Nashville, TN 37203 800-521-2112 Fax 615-742-1360 E-mail: Web: Styles: folk, bluegrass Clients: John Prine, Kris Kristofferson *No unsolicited material ALLURE MEDIA ENTERTAINMENT 34 E. Germantown Pike, Ste. 112 Norristown, PA 19401 215-601-1499 Web: Styles: rock, alt. rock, pop, adult rock, r&b, hip-hop Clients: Sleeper Cell, Maddam Ink, Slik Helvetika, XDao, DJ Miguel, Kara Reynolds, Tim Laigaie, Stealing Love Jones, Thoroughfare, Gallucio, The Wonder Years, Greg Howe, Uncle Plum, Darryl Ray Band, Flux Capacitor, Coolooloosh, Tom Taylor, Brian Severn & Those Victorious *Accepts unsolicited material, please follow submission guidelines on web

AMERICAN ARTISTS ENTERTAINMENT GROUP 29 Royal Palm Pointe, Ste. 5 Vero Beach, FL 32960 772-569-1040 E-mail: Web: Contact: Anthony Messina Styles: pop, rock, R&B, country, s/s Clients: Jenny Galiardi, Mike Guerriero, Lyrical Eye, Baha Men, Frank Stallone, Jenny Galiardi *Accepts unsolicited material, but not seeking new clients Additional locations: Hal Kaye Artist Representative 646-719-9874 New York, NY 10021 Dick Kline Artists Representative Jeff Subaru Assoc. Hollywood, CA 90068 ANGELICA ARTS & ENTERTAINMENT Nashville, TN 615-794-0485 Fax 615-591-1463 E-mail: Web: Contact: Jules Delgado Styles: ambient, lounge, new age, pop, world, film/tv Clients: Seay, Pat Thomi *No unsolicited material ARSLANIAN & ASSOCIATES 6671 Sunset Blvd., Ste. 1502 Hollywood, CA 90028 323-465-0533 Fax 323-465-9240 E-mail: oscar@discover Contact: Oscar Arslanian Clients: Fabian, Chris Montez, Kathy Young, Johnny Tillotson, Merrilee Rush, Brian Hyland Styles: Classic Rock Services: personal management *No unsolicited material ARTIST IN MIND 14100 Dickens St., Ste. 1 Sherman Oaks, CA 91423-4236 818-906-8020 Fax 818-924-1000 E-mail: Contact: Doug Buttleman Clients: Remy Zero, Sanders Bohlke, Jeffrey Cain, the Verve Pipe, Brian Vander Ark Styles: rock, modern rock, pop, adult *No unsolicited material

ARTIST MANAGEMENT AND CONSULTING 7135 Hollywood Blvd., Ste. 910 Los Angeles, CA 90046 E-mail: Web: Contact: Terri Tilton Clients: Jimmy Stewart Styles: latin, blues, R&B, pop, rock, jazz Services: Management, consulting *E-mail before submitting ARTIST MANAGEMENT GROUP 207 Crabapple Dr. Baytown, TX 77520 713-263-7115 E-mail: recagle@montrose Web: Contact: Richard Cagle Styles: rock, blues, country, pop Clients: Carolyn Wonderland, Crash Comfort, Grey Eyed Athena, Simpleton *Accepts unsolicited material ASQUARED MANAGEMENT 1316 Sherman Ave. #215 Evanston, IL 60201 847-424-2000 E-mail: Web: Styles: S/S, acoustic, folk, rock Clients: Mat Kearney, Brandi Carlile, A Rocket To The Moon, Mayday Parade, Cary Brothers, Jason Lehning (Producer/Mixer), Kristen May *No unsolicited material ASTI ARTIST MANAGEMENT, LLC 212-529-6400, 212-529-9315 E-mail: Contact: Kristi Clifford Styles: rap, hip-hop, pop, rock Clients: Kid Capri, Styles P, Camp Lo, Peter Rose, Republic of Loose, Technician the DJ, DJ K2 (aka Kellen Winslow, Jr.) *No unsolicited material AZOFF MUSIC MANAGEMENT 1100 Glendon Ave., Ste. 2000 Los Angeles, CA 90024 310-209-3100 Styles: All *No unsolicited material ELLEN AZORIN, MANAGER, PEDRO GIRAUDO JAZZ ORCHESTRA 157 W. 79th St., Ste. 4A New York, NY 10024 212-724-2400 E-mail:

Download This Directory From Our Website Web: www.pedrogiraudo. com, php?gid=58039828477&ref=ts Styles: Jazz Client: Pedro Giraudo Jazz Orchestra *Accepts unsolicted material BACKSTAGE ENTERTAINMENT 5018 Franklin Pike Nashville, TN 37220 310-325-9997 E-mail: staff@backstage Web: www.backstage Contact: Paul Loggins, John Stevens, Laurent Stoeckli Styles: All Services: full-service radio promotion, publicity & PR, radio programming/consulting, personal management, entertainment consulting/marketing *Accepts unsolicited material BANDGURU MANAGEMENT P.O. Box 11192 Denver, CO 80211 303-477-6987 Fax 303-561-1496 Web: E-mail: Contact: Mark Bliesener Styles: All Styles Clients: The Third Degree, Baxter Black, Ronny cox, Highway 101, Nitty Gritty Dirt Band *No unsolicited material BBA MANAGEMENT & BOOKING 12400 Hwy. 71 W., Ste. 350-177 Austin, TX 78738 512-477-7777 E-mail: Web: Contact: Laura Mordecai Styles: rock, jazz Clients: Matt Wilson, Robert ‘Beto’ Skiles, Beto and the Fairlanes Services: specializes in placing musicians for recording sessions & back up for touring acts, must read sheet music *No unsolicited material BEAR CREEK PRODUCER MANAGEMENT 6313 Maltby Rd. Woodinville, WA 98072 425-481-4100 Fax 425-486-2718 E-mail: Web: Contact: Manny Hadlock Styles: intelligent rock, indie rock, rock nervous, folk, renaissance, rock, jazz Clients: Gordon Raphael, Ryan Hadlock, Holy Ghost Revival, Sony Records, Sub Pop, Vertigo, Warner, Transgressive *No unsolicited material BEDLAM MUSIC MANAGEMENT 550 Queen St. E. Ste. 310 Toronto, ON M5A 1V2 416-585-7885 Fax 905-248-3195 E-mail: info@bedlammusicmgt. com Web: Clients: Alexisonfire, Chains of Love, City and Colour, Dinosaur

Bones, Doldlrums, Moneen, Monster Truck, The Sheepdogs BIG HASSLE MANAGEMENT 244 E. Durham St. Philadelphia, PA 19119 917-670-6023 Cell 215-248-2064 E-mail: Contact: Michael Maska Styles: alt., indie, rock, pop Clients: Joe Jackson, Jennifer Clarke *Accepts unsolicited material BIG NOISE 11 S Angell St., Ste. 336 Providence, RI 02906 401-274-4770 E-mail: Web: Contact: Al Gomes Styles: pop, rock, R&B, metal, jazz, acoustic, blues, punk, techno Clients: Christina Aguilera, Katharine McPhee, Alice Cooper, Little Anthony & the Imperials, Jay Geils, Jim Brickman, Melba Moore *Accepts unsolicited material please call or e-mail first. BITCHIN ENTERTAINMENT 1750 Collard Valley Rd. Cedartown, GA 30125 678-901-0162 E-mail: Web: Styles: rock, pop, hip-hop, americana, country, R&B, jazz, punk, metal, rap, folk, s/s Clients: Karma, State Of Man, Blasternaut, Niki Barr, Baby Strange, Matt O’Ree, One Day Left, Josh Roy Brown, Donal Hinely, SUN, Gentry Morris, Lost Tricks, Jon Robert, Lost Tricks *Accepts unsolicited material BLACK DOT MANAGEMENT 6820 La Tijera Blvd., Ste. 117 Los Angeles, CA 90045 310-568-9091 Fax 323-777-8169 E-mail: Web: Contact: Raymond A. Shields, Pat Shields Clients: producers, engineers, marketing, production Styles: R&B, jazz, urban adult contemporary Services: personal management, marketing *No unsolicited material BLACK ROSE 409 Rte. 112 Port Jefferson Station, NY 11776 631-509-0449 E-mail: admin@blackrose Web: Styles: jazz, rock, R&B, gospel, hip-hop, country, blues, pop Clients: Conan Horn Section, Black Rose Band, Organic Sound Project, Chris Patti of Modern Voices, IndiMusicTV, John Pandalfo, Roger Evans, Tito Batista featured on vocals with Conan Horn Section and Black Rose Band *No unsolicited material Additional location: 15 Gloria Ln. Fairfield, NJ 07004 631-367-8544, 973-575-7460 BLAST! MANAGEMENT Los Angeles, CA 323-857-7299 E-mail: Web: Styles: record producers, mixers, songwriters, film/tv composers BLISS ARTIST MANAGEMENT P.O. Box 5011 Laurel, MD 20726 888-608-5936 E-mail: Web: Contact: Jennifer M Styles: urban, gospel, rock, blues, jazz, hip-hop Clients: DJ Sir Jamm, NexXzit Band, Tabbo and Tox Burner *Please view website for submission policy BOB BENJAMIN MANAGEMENT 201 S. 2nd Ave., Ste. 22 Highland Park, NJ 08904 732-249-3911 Fax 732-249-3715 E-mail: Contact: Bob Benjamin Styles: Rock Clients: Joe Grushecky, Joe D’Urso, Dawne Alynne *No unsolicited material BORMAN ENTERTAINMENT 1250 Sixth St., Ste. 401 Santa Monica, CA 90401 310-656-3150 Fax 310-656-3160 Contact: Gary Borman Clients: Keith Urban, Lady Antebellum, Alison Krauss, Michael Franti Styles: All Services: Personal management *No unsolicited material BRENT MUSIC MANAGEMENT (submission address) 14431 Ventura Blvd., #306 Sherman Oaks, CA 91423 818-535-6696 Contact: Bobby Brent, Elysia Skye Styles: All styles - always looking for outstanding songs Services: Personal management, contract negotiations, deal shopping, consulting, music and video productions *Accepts unsolicited material call first *Not accepting rap or hip-hop at this time BRICK WALL MANAGEMENT 39 W. 32nd St., Ste. 1403 New York, NY 10001 212-501-0748 Fax 212-268-3544 E-mail: Web: Contact: Michael Solomon & Rishon Blumberg Styles: pop, rock, country, singersongwriter Clients: Charlie Mars, Cherry Poppin’ Daddies, The Clarks,

Josh Franer, Lonesome Animals, Marshall Altman, The Spring Standards, William Fitsimmons *No unsolicited material BRILLIANT PRODUCTIONS Decatur, GA 30030 404-373-2299 E-mail: Web: Contact: Nancy Lewis-Pegel Styles: roots, rock, jam, americana, blues Clients: Webb Wilder, Geoff Achison, Yonrico Scott, Randall Bramblett, David Gans, Peter Karp, Sue Foley, Yonrico Scott Band Services: A boutique agency that gives personal attention to musicians *No unsolicited material BROKAW COMPANY, THE 9255 Sunset Blvd., Ste. 804 Los Angeles, CA 90069 310-273-2060 Fax 310-276-4037 E-mail:, db@ Web: Contact: David Brokaw, Joel Brokaw, Sanford Brokaw Styles: All Services: Full service *No unsolicited material BULLETPROOF ARTIST MANAGEMENT & BOOKING 241 Main St. Easthampton, MA 01027 413-527-9393 E-mail: Web: Contact: Patty Romanoff Styles: folk, pop, rock, country Clients: Nerissa & Katryna Nields *No unsolicited material BURGESS WORLD CO P.O. Box 646 Mayo, MD 21106 410-798-7798 E-mail: Web: Contact: Richard James Burgess Styles: rock, alt., singer songwriter, blues, jazz Clients: Jimmie’s Chicken Shack, Ace Elijah, The Electrofied Blues Band *No unsolicited material BUSYBOY PRODUCTIONS 3211 Webster Ave. S. St. Louis Park, MN 55416 651-230-4362 612-454-7311 E-mail: Web: Contact: Jack Paar Styles: rock, pop, country, alt. Clients: Michelle Ella Reid, Lorenzo, Lizzy Borden, White Lion, Gin Blossoms, Anita Baker *Accepts unsolicited material CANTILLON Thousand Oaks, CA 91360 310-734-6527, 310-734-6882 E-mail:

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Download This Directory From Our Website Web: Contact: Jimmy, Kevin, Kate, Bjorn, Adam Styles: rock, indie, alternative, pop, country, funk, hip-hop, rap Clients: E-mail for full roster CAPITOL MANAGEMENT GROUP 330 Franklin Rd. Brentwood, TN 37027-3282 800-767-4984 (toll free) 615-321-0600 Fax 615-338-4497 E-mail: Web: Contact: Robert Metzgar Styles: pop, country, bluegrass, gospel, ccm, Americana, rock, jazz/R&B traditional Clients: Jessica Alba, Gina Carrano, Smokey River Boys, Stampede, Bone Creek, Jessica Hawthorn, Ali Shumate, Deep River, Rebeccca Frederick, Andie Blackwood, Heartland, Cher Lynn Bragg, Tracy Lynn Cash, Heartland, Larry Orrell, Ricky Emanuel Brown, SONY/ATV Songs LLC (BMI) Walt Disney Music (ASCAP) Club Platinum Music/UMG *Accepts unsolicited material CASE ENTERTAINMENT GROUP, INC. 102 E. Pikes Peak Ave., Ste. 200 Colorado Springs, CO 719-632-0227, Fax 719-634-2274 E-mail: Web:, Contact: Robert Case Clients: Silence, Lisa Bigwood, C. Lee Clarke, Kathy Watson, Todd Harris, Sherwen Greenwood, Harley Krishna, Chad Steele, James Becker, Stephanie Aramburo, Rocky Shaw, John Ellis Styles: pop, rock, country Services: personal management, record promotion *No unsolicited material CEC MANAGEMENT 130 West 29th St., 4th Fl. New York, NY 10001 212-206-6765 E-mail: Contact: Alan Wolmark Styles: pop, rock, alt., jazz Clients: Ben Folds, Peter Murphy *No unsolicited material CELEBRITY ENTERPRISES New Mexico 800-700-3898, 505-281-1149 Fax 505-281-7134 E-mail: Web: Contact: Lisa de Wolf Styles: Big Band, Current Broadway, Mainstream Clients: The Pink Flamingos, The 3 Painters, Frank, Liza, SammyThe Ultimate Concert *No unsolicited material Additional locations: Minneapolis, MN 888-746-2731, 952-935-0445 58 March 2013

E-mail: Contact: Gordy Singer Las Vegas, NV 702-425-4220 E-mail: Contact: Gaelan de Wolf CHAPMAN MANAGEMENT 14011 Ventura Blvd. #405 Sherman Oaks, CA 91423 818-788-9577 Fax 818-788-9525 Web: http://chapman E-mail: info@chapman Styles: contemporary smooth jazz Clients: Rick Braun, Richard Elliot, Gerald Albright, Mindi Abair, David Benoit, Jeff Golub, Euge Groove, Jeff Lorber, Al Stewart, Peter White *no unsolicited material CLASS ACT PRODUCTIONS / PETER KIMMEL’S MUSIC CATALOG P.O. Box 55252 Sherman Oaks, CA 91413-0252 818-980-1039 Fax 801-912-4533 E-mail: Contact: Peter Kimmel Styles: All Services: Professional Music Licensing; Personal Management *Call for approval before sending material CLM MANAGEMENT P.O. Box 1877, Burbank, CA, 90517 E-mail: Styles: All Services: personal management, management consultations, music production, video access, and photo staging *Accepts unsolicited material. COAST TO COAST MUSIC, ARTIST DEVELOPMENT, BOOKING AND PROMOTION P.O. Box 18334 Encino, CA 91416 818-376-1380 E-mail: Web: www.positivemusic Contact: Chris Fletcher Clients: Harold Payne, Faith Rivera, Gravity, LNE Styles: All Services: Management, Promotions and Booking expert *e-mail for permission to send your materials COLLIN ARTISTS Pasadena, CA, CA 91104 323-467-4702 E-mail: Web: Contact: Barbara Collin, Robert Sax, Goh Kurosawa Clients: Mary Stallings, Carmen Lundy, Charmaine Clamor, Thelma Jones, Jackie Ryan, Annie Sellick, Bonnie Bowden, Amber Weekes, Kevin Mahogany, Andy Bey, Dori Caymmi, Mon David, Sam Harris, Mr. Z, Nat Adderley, Jr. Maiden Voyage, Pete Escovedo, Susie Hansen Latin Jazz Band, The Impressions, Ray Bailey, The Langston Huges Project Styles: jazz, blues, world, Latin, R&B, doo wop/classics and beyondߐ Services: Management, promotion, consulting, booking, workshops *No unsolicited material COLUMBIA ARTIST MANAGEMENT, LLC 1790 Broadway New York, NY 10019 212-841-9500 E-mail: Web: Contact: Tim Fox Styles: instrumental, classical, jazz, world, celtic, vocalists Services: one of the world’s largest Classical music management firms *Accepts unsolicited material COOKMAN INTERNATIONAL 10627 Burbank Blvd. N. Hollywood, CA 91601 818-763-1397 E-mail: Web: Contact: Tomas Cookman Styles: Latin, alt., rock, pop Clients: Fabulosos Cadillacs, Manu Chao, Ozomatli, Mexican Institute of Sound, Bostich & Fussible, Pacha Massive, Tom Tom Club *No unsolicited material CORE ENTERTAINMENT ORGANIZATION 14724 Ventura Blvd. Penthouse Sherman Oaks, CA 91403 818-986-9680 E-mail: Web: Contact: Bill Siddons,Toni Profera Clients: Jerry Cantrell, Alice in Chains, Elayne Boosler, Fu Manchu, KMFDM, Stabbing Westward, Jonathan Butler, Pat Benatar, Jackson Browne, David Crosby, Crosby Stills & Nash, Graham Nash, Van Morrison, Robert Palmer, Poco, John Klemmer, Sparks, the Doors Styles: rock, pop, film/tv Services: Personal management *Accepts unsolicited material CORNERSTONE MANAGEMENT Los Angeles, CA 213-217-4500 E-mail: info@ Web: www.cornerstone *No unsolicited material Additional locations: London +44 208 962 1440 New York 71 W. 23rd St., 13 Fl. New York, NY 10010 212-741-7100 COUNTDOWN ENTERTAINMENT 110 W. 26th St., 3rd Fl. New York, NY 10001 212-645-3068 E-mail: lovie@countdown Web: www.

Contact: James Citkovic Styles: urban, hip-hop, pop, rock, country, alt., dance, club, DJ *Accepts unsolicited material, see site for submission details COURTRIGHT MANAGEMENT INC. 201 E. 87th St., Ste. 20C New York, NY 10128 212-410-9055 E-mail: Contact: Hernando Courtright CREAMER MANAGEMENT 32 Oak Sq. Ave. Brighton, MA 02135 617-783-6308 Cell 617-780-5295 E-mail: Contact: Michael Creamer Styles: rock, alt., pop, s/s Clients: Superdrag, Kim Taylor, Todd Thibaud, Kay Hanley, Oteil Burbridge, Letter To Cleo, Cassavettes, John Davis *Accepts unsolicited material CROSS ROAD MANAGEMENT 45 W. 11th St., Ste. 7B New York, NY 10011 212-807-1509 Fax 718-504-7899 E-mail: dkahn@ Contact: Danny Kahn Styles: Americana, pop, jazz, world Clients: Rosanne Cash, Ben Vaughn, The Jazz Passengers *No unsolicited material CRUSH MANAGEMENT 60-62 E. 11th St., 7th Fl. New York, NY 10003 212-334-4446 Fax 212-334-0050 E-mail: Web: Styles: Rock, Pop, Indie, Hip-Hop, S/S, Punk Clients: Butch Walker, Fall Out Boy, Panic at the Disco, Gym Class Heroes, Cobra Starship, Black Cards, Courtney Love/Hole, Fountains of Wayne, Four Year Strong, Matt Nathanson, New Politics, Panic! At the Disco, Patrick Stump, SIA, Train, Travie McCoy, Lolo *No unsolicited material CUERVO MANAGEMENT 4924 Balboa Blvd., Ste. 485 Encino, CA 91316 951-225-8804 E-mail: Contact: Javier Willis Styles: all types of Latin and world music Clients: Sergio Arau, Cristian Castro, Marisela, Forbidden Saints, Agina Alvarez, Victor Espinola, Pepe Aguilar (BookingUSA) CURTIS MANAGEMENT 1900 S. Corgiat Dr. Seattle, WA 98108 800-724-8038, 206-447-1819 Fax 206-447-1848 E-mail: Contact: Kelly Curtis Clients: Pearl Jam DALE MORRIS & ASSOCIATES MORRIS ARTIST MANAGEMENT 818 19th Ave. S.

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March 2013 59

Download This Directory From Our Website Nashville, TN 37203 615-327-3400 Web:  Contact: Tiffany Benken Styles: Country Clients: Kenny Chesney, Martina McBride, Louise Mandrell, Big and Rich, Blaine Larsen, Jake Owen, Andy Gibson *No unsolicited material DAS COMMUNICATIONS  83 Riverside Dr. New York, NY 10024 212-877-0400 Fax 212-595-0176 Styles: rock, pop, hip-hop Clients: Black Eyed Peas, Fergie, Jim Steinman, Carney, Spin Doctors, Toby Gad, The Veronicas, Taylor Momsen & The Pretty Reckless, Jessica Jarell, Sean Paul, Prince Royce, Katy Tiz, The Lone Bellow, Connor Cruise, MNDR *No unsolicited material DAVE KAPLAN MANAGEMENT 1126 S. Coast Hwy. 101 Encinitas, CA 92024 760-944-8800 Fax 760-944-7808 E-mail: Web: Contact: Nola Schoder Style: Rock Clients: Brian Setzer, Stray Cats, Dave Stewart, Glen Campbell, Joss Stone, Gary Hoey, Dan Hicks, Rusty Slightly Stoopid. Dan Hicks, The Burning of Rome, Butthole Surfers, Pato Banton, Richard Cheese, Mom *We accept all unsolicited materials DAVID BENDETT ARTISTS 2431 Briarcrest Rd. Beverly Hills, CA 90210 310-278-5657 Contact: David Bendett Styles: rock, pop, bluegrass, jazz Clients: Bela Fleck, John Sebastian *No unsolicited material DAWN ELDER MANAGEMENT 303 Loma Alta Dr., Ste. 31 Santa Barbara, CA 93109 805-963-2415 Fax 805-965-4075 Global: 805-637-1178 E-mail: Web: Contact: Dawn Elder Styles: world, rock, pop, jazz, roots, traditional, classical, international, Central-South Asian underground, Middle Eastern, North African, Mediterranean Clients: Souad Massi, Simon Shaheen & Arab Orchestra, Simon Shaheen & Near Eastern Ensemble, Simon Shaheen & Qantara, Bassam Saba, Kadim Al Sahir, Cheb, Sabbah & 1002 Nights and many more. Services: specializing in Middle Eastern, Central & South Asian, North African, West African & Mediterranean *No unsolicited material DCA PRODUCTIONS 676A 9th Ave., Ste. 252 New York, NY 10036 60 March 2013

800-659-2063, 212-245-2063 Fax 609-259-8260 E-mail: Web: Contact: Daniel C. Abrahamsen Styles: pop, folk, rock Clients: Andjam Band, Backbeat A Tribute, Alison Fraser, Fiesta, Rockspolsion, Lisa Bouchelle, Vladimir & Nadia Zaitsev, Acrobats of Cirquetacular, Services: variety performers, comedians, musical performers, theatre productions, and producing live events *Accepts unsolicited material DEEP SOUTH ENTERTAINMENT P.O. Box 17737 Raleigh, NC 27619 919-844-1515 Fax 919-847-5922 E-mail: info@deepsouth Web: www.deepsouth Contact: Steve Williams Styles: pop, rock, alt., country, Americana, AC, Christian Clients: Marcy Playground, Vienna Teng, Tres Chicas, Parmalee, I Was Totally Destroying It, Young Cardinals, Michael Sweet *Accepts unsolicited material. **Please NO CALLS DEF RO INC. 33 Prospect St. Ste. 1R Boomfield, NJ 07003 973-200-8247 E-mail: Web: www.members.tripod. com/~sirRO/index.html Contact: Ro Smith Styles: R&B, Hip-Hop, Pop Clients: Mary J. Blige *Accepts unsolicited material—NO CALLS DENNY BRUCE MANAGEMENT & PRODUCTIONS Burbank, CA E-mail: Contact: Denny Bruce Styles: veteran artists only Services: personal management, production, publishing, label consultant *No unsolicited material DIRECT MANAGEMENT GROUP 947 N. La Cienega Blvd., Ste. G Los Angeles, CA 90069 310-854-3535 E-mail: Web: Clients: The Go-Go’s, K.D. Lang, Adam Lambert Styles: All Services: Personal management *No unsolicited material DREAMCATCHER ENTERTAINMENT 2910 Poston Ave. Nashville, TN 37203 615-210-2270 E-mail: jmazza@ Web: Contact: Jim Mazza Styles: Country *No unsolicited material EAST END MANAGEMENT 13721 Ventura Blvd., 2nd Fl. Sherman Oaks, CA 91423 818-784-9002 Fax 818-784-9027 Contact: Tony Dimitriades Styles: rock, pop Clients: Billy Idol, Tom Petty & the Heartbreakers, Regina Spektor *No unsolicited material EGM 1040 Mariposa St., Ste. 200 San Francisco, CA 94107 415-522-5292 Fax 415-522-5293 Contact: Eric Godtland Styles: All Styles Of Rock Clients: Denny Porter * Accepts unsolicited material ELEVATION GROUP 1408 Encinal Ave., Ste. A Alameda, CA 94501 510-530-2600 E-mail: Web: Contact: Kent Sorrell Clients: Aaron Neville, Funky Meters, Neville Brothers, the New Mastersounds, The Technicolors Styles: All Services: Personal management *No unsolicited material ELLIOT CAHN MANAGEMENT 1035 7th St. Oakland, CA 94607 510-652-1615 Fax 510-550-2770 E-mail: Web: Contact: Elliot Cahn Clients: Goapele, Justin King Styles: All styles Services: Personal management *No unsolicited material EMCEE ARTIST MANAGEMENTߐ 189 Franklin St., Ste. 294 ߐNew York, NY 10013ߐ212-925-6458 Fax 212-925-6482ߐ E-mail: Styles: Jazz, Rock, Blues Clients: Medeski Martin & Wood, The Wood Brothers, Piers Faccini, John Medeski, Wicked Knee *No unsolicited material

EMPIRE ARTIST MANAGEMENT 235 W. 23rd St., 6th Fl. New York, NY 10011 212-343-9383 Fax 212-343-9429 DONALD MILLER MANAGEMENT E-mail: 12746 Kling St. Web: Studio City, CA 91604 Contact: Above & Beyond, Benny 818-506-8356 Fax 818-980-6888 Benassi, Bloody Beetroots, Contact: Donald Miller Kaskade, Steve Aoki, Wolfgang Clients: Jackson Browne, Joel Gartnerߐ Rafael, Crosby, Stills & Nash (and Styles: Electronica, Club, Techno solo acts) *No unsolicited material Styles: All Services: Personal management ENCOURAGEANAIRE.COM *No unsolicited material 1845 Lee Street

Hollywood, CA 33020 754-204-4758 cell/text E-mail: Web: Contact: “The Encourageanaire” Acts 11 Clients: West Coast: Mark Samuel, Philip Herbst, Michael Darby/I Have A Friend Who... (, Johnny Kim/Glamourocke Records & Films, Mike Okri, Mike Shih/DJ ONE, Bardi Rahimzadeh/TRUEHONOR. com (Fashion Extreme Sports) and (ASCAP). East Coast: Dave Tough Productions (BMI), Day the Untouchable (ASCAP), Dan Norris (BMI), Jeremy Stewart, Alfonso Fernandez (Film/ TV), Robert P. Wallman (Poet), Nathan S. Davidson (Writer)/ Love At The End Of The Tunnel, Mostiky, Jairzinho Grant/Royal Thunder Records (BMI), Scott E. Ebeling/SoulsofEternity. com, Gracecafeandgalleries. com-Dania Beach, Alex GraftonSinger Songwriter, JC The Lion of Judah, Paul Balbuena (Film/TV),, Corey Rowe and KAIROS (ASCAP) Styles: Embraces All Creativity Services: personal and positive artist management/A&R/media/ public relations/getworking/ brand licensing/niche marketing/ mentoring *Open to receive Polished Submissions to include demos, press kits and bios. ENTERTAINMENT SERVICES INT’L 6400 Pleasant Park Dr. Chanhassen, MN 55317 952-470-9000 Fax 952-474-4449 E-mail: Web: Contact: Randy Erwin Styles: Rock, Classic Rock Clients: The Nylons, Ben E. King, Brewer & Shipley, Carl Dixon, the Guess Who, Humble Pie, Iron Butterfly, Mitch Ryder & The Detroit Wheels, Otis Day & the Knights, the Ozark Mountain Daredevils, the Rembrandts, Sass Jordan, the Steve Augeri Band, Thunderstruck ERIC NORWITZ ARTIST MANAGEMENT 3333 W. 2nd St., Ste. 52-214 Los Angeles, CA 90004-6149 213-389-3477 E-mail: Contact: Eric Norwitz Styles: alt., dance, pop, R&B, rock Services: management & legal *Accepts unsolicited material ESP MANAGEMENT INC. P.O. Box 505 Millwood, NY 10546 212-765-8450 Contact: Bud Prager Styles: All Services: Personal management *No unsolicited material EYE FOR TALENT, INC. 1139 San Carlos Ave., Ste 310 San Carlos, CA 94070

Download This Directory From Our Website 650-595-2274 Fax 650-585-6810 E-mail: Web: Contact: Bill Smith Styles: World, Jazz Services: Personal management & agents Clients: Feufollet, Hermeto Pascoal, Huun Huur Tu, Le Mystere Des Boix Bulgares, Les Yeux Noirs, Paris Combo, Quetzal, Vagabond Opera and more. See website for complete roster *No unsolicited material FIRST ARTISTS MANAGEMENT 4764 Park Granada, Ste. 210 Calabasas, CA 91302 818-377-7750 Fax 818-377-7760 E-mail: Styles: film, S/S Clients: film composers, music supervisors, music editors *No unsolicited material FITZGERALD HARTLEY COMPANY, THE 34 N. Palm St., Ste. 100 Ventura, CA 93001 805-641-6441 Fax 805-641-6444 E-mail: Web: Contact: Anita Heilig Styles: Country, pop, rock Clients: Rey Fresco, 2 Cents, Sunny Sweeney, Brent Anderson, Colbie Caillat, Big Bad Voodoo Daddy, Brad Paisley, Olivia Newton-John, Radney Foster,

the Robert Cray Band, Vince Gill, Kellie Pickler, Josh Golden, Randy Houser, David Stewart, Orianthi *No unsolicited material FLEMING ARTISTS, INC. 543 N. Main St. Ann Arbor, MI 48104 734-995-9066 Fax 734-662-6502 E-mail: Web: Contact: Jim Fleming Styles: rock, pop, s/s, contemporary roots rock, folk, bluegrass, improv comedy Clients: Ani DiFranco, Antje Duvekot, Ari Hest, Baskery, Brian Vander Ark, Capitol Steps, Caravan of Thieves, Cheryl Wheeler, Connie Kaldor, Damien Dempsey, Dan Bern, Dougie MacLean, Eddie From Ohio, Ellis Paul, Enter the Haggis, Garnet Rogers, Glen Phillips, Grant-Lee Buffalo, Gregory Alan Isakov, Hoots & Hellmouth, Jane Siberry, Jeff Daniels, Krista Detor, Lucy Kaplansky, Martyn Joseph, Mountain Stage Radio Show, Peter Mulvey, Po’Girl, Richard Shindell, Robbie Schaefer, Ryan Montbleau Band, The Guggenheim Grotto, The Second City, The Verve Pipe, Toad the Wet Sprocket, Tom Paxton, Tony Furtado, Umphrey’s McGee, Willy Porter, WPA–Works Progress Administration FRESH FLAVA ENTERTAINMENT 2705 12th St. N.E. Washington, DC 20018 202-832-7979 E-mail: Web: Contact: Emanuel Maurice ‘Moe’ Yeoman Styles: hip-hop, R&B, jazz, gospel, rock Clients: Elliot Lavine, Tabbo, DJ Sir Jamm *Accepts unsolicited material

Clients: Big Wide Grin, Chris Daniels & the Kings, Katoorah Jayne, Michael Kelsh, Eleanor McEvoy (US/Canada) Lenou (US/ Canada), Tom Roznowski, Beth Wood Advisory: Bob Rea, Chi Mclean, Cliff Eberhardt Advisory: Bob Rea, Chi Mclean, Cliff Eberhardt, Bianca DeLeon, Bridges Home

FUZED MUSIC P.O. Box 19436 Seattle, WA 98109 206-352-6892 Fax 206-374-2429 E-mail: Web: Contact: Grady Chapman Styles: alt., folk, rock, hip-hop Clients: Blue Scholars, Common Market, the Presidents Of the United States of America *Not currently accepting submissions

GARY STAMLER MANAGEMENT P. O. Box 34575 Los Angeles, CA 90034 310-838-1995 E-mail: Web: Contacts: Gary Stamler, Nancy Sefton Clients: Lionel Neykov, Waltham, Tchad Blake, Kevin Booth, Sons of Midnight, Lynda Kay, Kevin Booth Styles: All Services: personal management *No unsolicited material

GARVAN MEDIA, MANAGEMENT & MARKETING P.O. Box 737 Sandpoint, ID 83864 208-265-1718 Fax 208-265-7296 E-mail: steve@garvan Web:, Contact: Stephen Bond Garvan (formerly N.Y.C., Colorado, New England)ߐ Styles: rock, s/s, roots, country, Americanaߐ

GENUINE REPRESENTATION / GENUINE MUSIC GROUP 11271 Ventura Blvd., Ste. 225 Studio City, CA 91604 E-mail: Web: Styles: R&B, hip-hop, pop, pop rock Clients: Rob Chiarelli Final Mix, Will Smith, Janet Jackson, Kirk Franklin, Mary Mary, Christina Aguilera, Charlie Wilson, Pink, Madonna, Newboyz, Leann Rimes *Unsolicited material accepted *No phone calls please

March 2013 61

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GOLD MOUNTAIN ENTERTAINMENT 12400 Ventura Blvd. #444 Studio City, CA 91604 818-508-2210 Fax 818-508-5120 E-mail: Web: Contact: Ron Stone, Peter Wark, Jerrod Wilkins and Preeya Khanna Clients: Ray Davies, Rickie Lee Jones, New York Dolls, Joseph Arthur, John Waite, Nakia Styles: All Services: personal management *No unsolicited material GOLIATH ARTISTS 151 Lafayette St. New York, NY 10012-3311 212-324-2410 Contact: Paul Rosenberg Styles: rap, hip-hop Clients: Eminem, Slaughterhouse, Yelawolf *no unsolicited material GOODMAN AND ASSOCIATES MANAGEMENT, MARKETING & PR 11271 Ventura Blvd. #341 Studio City, CA 91604 818-760-6700 E-mail: Contact: Joseph L. Goodman Styles: rock, alt., pop Services: Full-service management, marketing, public relations *Accepts unsolicited material LAURA GROVE 8530 Holloway Dr., Ste. 328 Los Angeles, CA 90069 310-855-1631 Fax 310-657-7197 E-mail: Contact: Laura Grover Styles: pop, rock *No unsolicited material

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62 March 2013

HALFPIPE ENTERTAINMENT P.O. Box 10534 Hollywood, CA 90213 310-651-6233 E-mail: Web: Contact: Lee Scheinbaum Styles: alt., rock, indie, s/s, surf pop, electronic, lounge, remixes, psychedelic, hip hop, R&B, nu soul, jazz, underscores Clients: Jeff Martin, Greg Camp, Aidan Lavelle, the Newton Brothers, Ceiri Torjussen, Erik Godal, Tommy Coster, Christopher Faizi, Kiran Shahani, Scott Thomas, James Hall, Jaymay, Stefano Tomaselli, Contrella PatrickHenry, Mark Tschanz, Chris Seefried, Trevor Shand, Mike Semple, Sean Hennessy, Kathie Talbot, Brian Rawlings, Colby Trane, Tom Carolan, Cathy Duncan *Accepts unsolicited material - web streaming audio submissions only, prefers soundcloud or similar. HARD HEAD MANAGEMENT P.O. Box 651 New York, NY 10014 212-337-0760 Fax 212-337-0708 E-mail: Web: Contact: Stefani Scamardo Styles: rock, americana, s/s, electronica Clients: Govâ&#x20AC;&#x2122;t Mule, Warren Haynes, DJ Logic, John Popper Project, Noba Echo *Accepts unsolicited material HEADLINE TALENT 1650 Broadway, Ste. 508 New York, NY 10019

212-581-6900 Fax 212-581-6906 E-mail: Styles: classic rock, oldies, soul, hip-hop, a cappella Clients: The Drifters, the Coasters, the Platters, the Dubs, the Marvelettes, the Persuasions *Accepts unsolicited material HOFFMAN ENTERTAINMENT 549 Borden Ave. Ste. 8G Long Island City, NY 11101 212-765-2525 Contact: Randy Hoffman Styles: R&B, rock, pop, country Clients: John Mellencamp, Hugo, Will Dailey, Carlene Carter *No unsolicited material HOWARD ROSEN PROMOTION, INC. 1129 Maricopa Hwy, #238 Ojai, CA 93023 805-382-2200 Fax 805-201-7816 E-mail: Web: Contact: Howard Rosen, Siri Rosen Clients: Paula Abdul, New Boyz, Stone Sour, Green Day, Jaicko, James Otto, Girl in a Coma, We the Kings Styles: All Services: Personal management, shop for distribution and record deals. Production and remix with major producers *Accepts unsolicited material IMC ENTERTAINMENT GROUP, INC. 19360 Rinaldi St., Ste. 217 Porter Ranch, CA 91326 818-700-9655 E-mail: Web: Contact: Sylvester Rivers Clients: Paul Riser, T. Renee Styles: pop, R&B Services: full service *No unsolicited material IMPACT ARTIST MANAGEMENT P.O.Box 1490 Woodstock, NY 12498 212-280-0800 E-mail: Web: Styles: jazz, world, rock, pop, blues, R&B, folk, alt. country Clients: Gipsy Kings, Jon Cleary, Willie Nile *No unsolicited material IN DE GOOT ENTERTAINMENT 119 W. 23rd St., Ste. 609 New York, NY 10011 212-924-7775 Fax 212-924-3242 E-mail: Web: Contact: Tony Couch Styles: rock, pop Clients: 10 Years, Adelitas Way, Airborne, American Fangs, Anew Revolution, Black Stone Cherry, Chevelle, Dead Country, Emphatic, Halestrom, In This Moment, Kyng, Neon Trees, New Medicine, Nightmare & The Cat, the Parlor Mob, Robert Fenn, Sevendust, Shinedown, Story of The Year, Theory Of A Deadman *Accepts unsolicited material - Attn: Dave Bennett INTERNATIONAL CREATIVE MANAGEMENT (ICM) 10250 Constellation Blvd. Los Angeles, CA 90067 310-550-4000 E-mail: Web: Contact: Steve Levine

Download Download This ThisDirectory DirectoryatFrom Our Website Styles: dance, classical, jazz, folk, world, contemporary, R&B, hip-hop *No unsolicited material Additional Locations: 730 Fifth Ave. New York, NY 10019 212-556-5600 3rd Floor, Marlborough House 10 Earlham St. London, WC2H 9LN, England +44-0-20-7836-8564 IN TOUCH ENTERTAINMENT 309 West 55th St., Ste. 2B New York, NY 10019 212-714-7722 Fax 212-202-7579 E-mail: Web: Contact: Charles Carlini Styles: All Styles Clients: Tori Beaumont, Irene Cara, Michael Carvin, Brian Charette, David Chesky, Suzanne Ciani, Pino Daniele, Eumir Deodato, Eldar Djangirov, Mamma Freedom, George Garzone, Craig Handy *Accepts unsolicited material - via SonicBids only INTRIGUE MUSIC MANAGEMENT 24 Preble St., 3rd Fl. Portland, ME 04101 207-221-3311 E-mail: Web: Contact: Super Frank Styles: rock, pop Clients: Patrick Watson & The Cinematic Orchestra, David J. Roch, James Brown, Holly Heist, David Web, Phil Bensen, Billy Libby, ericjon, Jody Joseph, Braille *No unsolicited material INVASION GROUP 133 W. 25th St., 5th Fl. New York, NY 10001 212-414-0505 Fax 212-414-0525 E-mail: Web: Contact: Peter Casperson Styles: rock, world, folk, s/s Clients: Zach Deputy, Dawn Landes, The Bandana Splits, The Abrams Brothers, Caravan of Thieves, Gail Ann Dorsey, Jai Uttal, The Guggenheim Grotto, Robin Danar, Mark Wood, Scott Jacoby, Bill Laswell, Maiysha, Ryan Dahle, Silya *Accepts unsolicited material IVORY DANIEL Regime Management 105 W. Alameda Ave. #230 Burbank, CA 91502 818-841-3490 x7 Fax 818-841-1371 E-mail: Web: Clients: Poncho Sanchez, Big B, B-Side Players, Brokencyde, Christian Scott, Dilated Peoples, Jason Ellis, DJ Babu, DJ Muggs, Everlast, Evidence, Glasses Malone, House of Pain, Jason Ellis, Madchild, Mest, Michey Avalon, Orgone, Quetzal, Rakaa, Red Light King, Slaine, Swollen Members, Unwritten Law, Vista Chino JACQUE SCHAULS 2623 White Bear Ave. Maplewood, MN 55109 612-508-7527 E-mail: Web: www.codagroove

JAMES C. LEVESQUE Levesque Wilkinson Media Relationsߐ 714-313-6303 E-mail:, info@ JAMPOL ARTIST MANAGEMENTߐ 8899 Beverly Blvd., Ste. 812ߐ West Hollywood, CA 90048ߐ 310-274-8471 ߐ Web: ߐE-mail: assistant@jamincla.comߐ Contact: Jeff Jampolߐ Clients: The Doors, the Janis Joplin Estate, the Rick James Estate, the Peter Tosh Estate, the Jim Morrison Estate *Does not accept unsolicited material KAHN POWER PICTURES 433 N. Camden Dr., Ste. 600 Beverly Hills, CA 90210 310-980-8200, Fax 310-388-1159 E-mail: Web: Styles: film/tv scores, composer/performer/ director representation Clients: Nancy Bishop, Stewart Copeland, Robert Dornhelm, Claudio Faeh, J. Petere Robinson, Peter Gloub, Mader, Michael Nyman, About Derek Power, About Ilene Power *No unsolicited material KALE HOLMES 711 Medford Center #264 Medford, OR 97504 E-mail: Web: Contact: Kale Holmes Styles: rock, pop, metal, hardcore, indie, noise, post-punk, folk, Americana Clients: Norma Jean, From First to Last, Lisa Haley, Apex Theory, Dishwalla, Showbread, Savoy, Animal Alpha, Cog, Staple, Major Parkinson, Mira, The Cassanovas, Big Bang, Re:Ignition, Picketline, Cryptobiotic, Slap Shoe Fly, Nevercore, The Girlfriend Experience, Simon Stinger, Epitaph, Universal, Tooth and Nail, Solid State *Accepts unsolicited material. Please email first before mailing. KARI ESTRIN MANAGEMENT & CONSULTING P.O. Box 60232 Nashville, TN 37206 615-262-0883 E-mail: Web: Contact: Kari Estrin Styles: folk, Americana, AAA, roots Clients: David Llewellyn, Janis Ian, Tony Rice, Bluegrass/Newgrass legend, Suzanne Vega, Kanda Bonga Man, Papa Wemba, Kevin Brown, 3 Mustaphas 3 *Accepts unsolicited material KBH ENTERTAINMENT GROUP 7646 Kester Ave. Van Nuys, CA 91405 818-786-5994 Contact: Brent Harvey E-mail: Web: Styles/Specialties: All styles, entertainment consulting, artist management, publicity, music placement/licensing and live event production *No unsolicited material KBM 1459 Morton Pl. Los Angeles, CA 90026 310-234-0280 Fax 310-234-0282



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March 2013 63

Download This Directory From Our Website E-mail: Contact: Brent Harris Clients: Poplyfe, Tony! Toni! Tone’!, Sounds of Blackness, Jamell *No unsolicited material KEN FRITZ ENT. 4335 Van Nuys Blvd. #326 Sherman Oaks, CA 91403 310-301-9891 Fax 310-301-9893 E-mail: Contact: Ken Fritz Clients: Indigo Blues (a 3 or 4 character, two-act drama set in the rural South) Styles: All Services: Personal management, theatrical productions, Expert Witness Sevices *No unsolicited material KERMIT HENDERSON 8343 Roswell Rd. #163 Sandy Springs, GA 30350-2810 216-276-1829 E-mail: Web: Notes: We have received 150 plus Gold and Platinum Awards. Over 90 No. 1 records KRAFT ENGEL MANAGEMENT 15233 Ventura Blvd., Ste. 200 Sherman Oaks, CA 91403 818-380-1918 E-mail: Web: Contact: Richard Kraft Styles: Film Composers *No unsolicited material KRAGEN & COMPANY E-mail: info@kragenand Web: Contact: Ken Kragen Clients: Suzanne Whang, Ronn Lucas, the Smothers Brothers, J. Geils Band, Travis Tritt Styles: Comedy, Country, Adult Contemporary Services: personal management, TV production *No unsolicited material KUPER PERSONAL MANAGEMENT/RECOVERY RECORDINGS 515 Bomar St. Houston, TX 77006 713-520-5791 E-mail: Web: Contact: Koop Kuper Styles: folk, roots rock, Americana Clients: The Very Girls, David Rodriguez *Accepts unsolicited material KURFIRST-BLACKWELL MANAGEMENT E-mail: Web: Styles: rock, alt., pop Clients: Live, Angelfish, A House, Big Audio Dynamite, Black Grapes, Cyclefly, Dig, Elysian Fields, The Heads, The Fatima Mansions, Noella Hutton, London Beat, Lulabox, Radio Iodine, The Ramones, Star 69, Traci Lords, 64 March 2013

Virtuosity, Ana Voog *No unsolicited material LAKE TRANSFER ARTIST MANAGEMENT 12400 Ventura Blvd., Ste. 346 Studio City, CA 91604 818-508-7158 Fax 818-505-1811 Email: Web: Contact: Steven B. Cohen, Jim Holvay, Tina Antoine Clients: Candyboy, Mari Y., Friends of Distinction, Evelyn Champagne King, Rose Royce, The Val Diamond, Band, Klymaxx, Sylvia St. James, Sheree Brown, El Debarge, Trina McGee (Boy Meets World), The Buckinghams, Dennis Tufano, The Brown Sound LAMONT PATTERSON 4080 Paradise Rd. Las Vegas, NV 89169 323-957-7322 Cell 213-792-4662 Email: Lamont@ Web: Contact: Lamont Patterson Clients: Drew Raber, Rogon&Co, Kanya, Comedian Dewayne Dukes, Wylde Bunch, Beko, Coast Ridas, Michelle, Ghetto Hippie L.A. PERSONAL DEVELOPMENT See Yes, Dear Ent. LATIN MUSIC ARTISTS 4131 W. Oquendo Rd. Ste. 3 Las Vegas, NV 89118 702-363-7273 E-mail: Web: Styles: Latin *Accepts unsolicited material LEN WEISMAN PERSONAL MANAGEMENT 357 S Fairfax Ave., Ste. 430 Los Angeles, CA 90036 323-653-0693, 323-653-7670 E-mail: Web: Contact: Len Weisman Styles: R&B, soul, blues, gospel, rap, soul, pop Clients: Jewel With Love, Chosen Gospel Recovery Singers, Winds Of Fate, Rapture 7, Chosen Gospel Singers, L’Nee, Sister Maxine West, TooMiraqulas (rapper), Winds of Fate *Accepts unsolicited material LEONARD BUSINESS MANAGEMENT 532 Colorado Ave., 2nd Fl. Santa Monica, CA 90401 310-458-8860 E-mail: Web: leonardbusiness Contact: Jerry Leonard Clients: Call for roster Styles: All Services: Business management only *No unsolicited material LINC STAR P.O. Box 549 Colts Neck, NJ 07722 732-578-8493 E-mail: Web: Contact: John D’Esposito, Mgr. *Does not accept unsolicited material

Additional location:

LIPPMAN ENTERTAINMENT 23586 Calabasas Rd., Ste. 208 Calabasas, CA 91302 818-225-7480 Fax 818-225-7483 E-mail: Web: Contact: Michael Lippman, Nick Lippman Clients: producers, artists, songwriters Styles: All Services: Full-service *No unsolicited material

MAINE ROAD MANAGEMENT 195 Chrystie, Ste. 901F New York, NY 10002 212-979-9004 E-mail: mailbox@ Web: www.maineroad Contact: David Whitehead Styles: rock, S/S, pop Clients: David Byrne, David Bowie, Helmet, Joe Henry, Laura Cantrell, Tyondai Braxton, Mimi Goese, Hugh Laurie, Red Baraat *No unsolicited material

LLOYD SAX MANAGEMENT 3021 Airport Ave., Ste. 101i Santa Monica, CA 90405 310-572-0023 Fax 310-572-0043 E-mail: Contact: Lloyd Sax Clients: Troy Burgess Styles: All Services: personal and business management *Accepts unsolicited material LOGGINS PROMOTION 5018 Franklin Pike Nashville, TN 37220 Tel: 310-325-2800 E-mail: Web: Contact: Paul Loggins Services: Represents both major and independent artists. All genres. LOOKOUT MANAGEMENT 1460 4th St., Ste. 300 Santa Monica, CA 90401 310-319-1331 Fax 310-319-5331 E-mail: Web: N/A Contact: Elliott Roberts, Frank Gironda Styles: rock, alt. Clients: Neil Young, Stephen Stills, Mazzy Star, Love in the Circus Services: Personal management *No unsolicited material LUCEDIO MUSIC 12 First Ave. Westfield, MA 01085 413-977-5282 E-mail: Contact: Jessika Norman Web: norman Styles: Extreme forms of Metal Clients: Hotile City Metal Fest *Accepts unsolicited material LUPO ENTERTAINMENT 725 River Rd., ste. 32-288 Edgewater, NJ 07020 E-mail:, nicklopiccolo@lupoentertainment. com Web: Contact: Steve Corbin, Nick LoPiccolo Styles: rock, pop, R&B, country, hip-hop Clients: Jim Wilson, Megan McCallon, Lo-Star, Lauren Mayhew *Contact prior to sending material

1905 Grace Ave. Hollywood, CA 90068

MAJOR BOB MUSIC 1111 17th Ave. S. Nashville, TN 37212 615-329-4150 Web: Contact: Bob Doyle Styles: Country, Pop Clients: Garth Brooks, The Band Perry, John & Jacob, The Features, Dukes of Daville *No unsolicited material MANAGEMENT ARK 116 Village Blvd., Ste. 200 Princeton, NJ 08540 609-734-7403, Vernon H. Hammond III, 800-877-7133, Edward C. Arrendell, II E-mail: Web: Contact: Vernon Hammond III, Edward C. Arrendell, II Styles: jazz Clients: Wynton Marsalis, Kenny Garrett, Cecile McLorin Salvant *No unsolicited material MAPLE JAM MANAGEMENT 818-840-9000, 212-348-9567 E-mail: Web: Contact: Starr Andreeff, VP Managers: Mike Renault, Starr Andreeff and Jeff Peters Clients: Taryn Manning, Christian Burghardt, MaDonna Grimes, The Fame Riot, Meg Kelley, Dustin Ray, Samantha Robinson, Alex Lowery, Madison Sweeney, David Valdes, Alicia Randolph, Ben Labat, Anna Vissi, Kiersey Clemons, Triston Coleman MARKY RAY The Original Rock and Roll Mercenary 330-289-0589 Email: Web: Styles: rock, experimental, power pop, avant garde Clients: 3D, the terrible parade, Death On A Stick, The Action, IguanaDonHO *No unsolicited email, phone calls or packages MASCIOLI ENTERTAINMENT CORPORATION 319 Dillon Cir. Orlando, FL 32822 407-897-8824

Download This Directory From Our Website Hollywood, CA 90028ߐ 323-698-1845 E-mail: info@nettwerk.comߐ Web: ߐ*No unsolicited material Additional locations: 345 7th Ave., Ste. 1101 New York, NY 10001 212-760-1540 33 Richdale Ave, Suite 121 Cambridge, MA 02140 617-497-8200 Rear of 44 Chiswick Lane London, W4 2JQ 011-44-207-456-9500 Neuer Kamp 32 20357 Hamburg, Germany 49-40-431-846-50 1650 W. 2nd Ave. Vancouver, BC V6J 4R3 604-654-29029 NEW HEIGHTS ENTERTAINMENT P.O. Box 8489 Calabasas, CA 91372 323-802-1650 E-mail: Web: Contact: Alan Melina Styles: All Styles Clients: RedOne Productions, 2101 Songs, Songs of RedOne, 2101 Records, Anders Music Inc, Adam Anders, Nikki Anders, Bump Into Genius, Back Into Genius, Deep Well Records, Orange Factory Music *No unsolicited material NOCTURNAL MOVEMENTS MUSIC RESOURCES P.O. Box 5583 Vancouver, WA 98668 360-513-9121 E-mail: Web: Contact: Jett Black Styles: All Styles Clients: Deathwatch Beetle Repairman, Tri-State Killing Spree, Collilde, Tone Casualties *Accepts unsolicited material NUMAX ENTERTAINMENT P.O. Box 740 Branson, MO 65615

66 March 2013

877-321-6044 E-mail: info@numax Web: Contact: Randy Stringfellow Styles: nostalgia, pop, swing, jazz, Country, R&B Clients: Six Real Brothers, Imagine, the Alley Cats, the Heartbeats *Accepts unsolicited material OMNI ENTERTAINMENT, INC. 6119 Greenville Ave., Ste. 361 Dallas, TX 75206 214-272-2301 Fax 214-269-0211 Web: Contact: Don Brooks Styles: rock, country, pop, punk, metal, alt. Clients: Beneath Me, Displaced, Saturate, Spiral Arms *No unsolicited material PACIFIC BEACH RECORDING COMPANY 1939 Grand Ave., 2nd Lvl. San Diego, CA 92109 858-490-3961 Fax 858-490-3962 E-mail: sunny@ Web: Contact: Hugh Herrera, A&R Director; Chris Renzulli, President Styles: Pacifica, Balearic, cosmic house, funky disco, electronica, experimental, intelligent dance Clients: H-Track, Dirtywerk, DJ Harvey, DJ Renzulli *Accepts unsolicited material PANACEA ENTERTAINMENT 13587 Andalusia Dr. E. Camarillo, CA 93012 805-491-9400 Fax 805-491-0406 E-mail: Contact: Eric Gardner, Lynn Robnett Clients: Donny Osmond, Todd Rundgren, Utopia, Paul Shaffer, Richard Belzer, Cassandra “Elvira” Peterson, Martha Quinn Styles: rock Services: Personal management *No unsolicited material PATRICK RAINS & ASSOCIATES 1255 5th Ave., Ste. 7K New York, NY 10029 212-860-3233 E-mail: Web: Contact: Patrick Rains Styles: jazz, pop, rock Clients: Jonatha Brooke, Joe Sample, the Crusaders, Randy Crawford, David Sanborn *No unsolicited material PERFORMINGBIZ.COM 10 Chestnut Ct. Palmyra, VA 22963 434-591-1335 E-mail: Web: Contact: Jeri Goldstein Styles: All Styles/Coaching & Consulting Only *Accepts Unsolicited material PERSISTENT MANAGEMENT P.O. Box 88456 Los Angeles, CA 90009 424-245-0416 E-mail: pm@persistent Web: www.persistent Contact: Eric Knight Styles: All Clients: Ignacio Val, Satellite Sky, Eric Knight Services: Personal Management *Accepts Unsolicited material, email links only, no phone calls PRODIGAL SON ENTERTAINMENT Brentwood, TN 37027 615-377-0057 E-mail: Web: Contact: Scott Williams Styles: rock, alt., hard rock, country, Christian, instrumental Clients: Skyhawk Drive, 7 Bridges, Jason Lee McKinney, iShine Live, KISS Mania, Voices of Rock Radio, Liquid Blue, Submission Red, llia, Joanna Beasley, New River Band, August Rain, Dave Clo Live, Kathleen Carnali, Air Five, Salient *No unsolicited material PROSPECT PARK 2049 Century Park E., Ste. 2550 Los Angeles, CA 90067 310-746-4900 Fax 310-746-4890 E-mail: Contact: Jennifer Sousa *No unsolicited material

Q PRIME MANAGEMENT 729 7th Ave., 16th Fl. New York, NY 10019 212-302-9790 E-mail: Web: Contact: Randi Seplow Styles: rock, pop Clients: Gillian Welch, Muse, Metallica, Silversun Pickups, Josh Groban, Red Hot Chili Peppers *No unsolicited material RAINMAKER ARTISTS P.O. Box 342229 Austin TX 78734 512-843-7500 Email: Web: Contact: Paul Nugent Styles: rock, pop Clients: Blue October, Bowling For Soup, IAMDYNAMITE, People On Vacation, Tori Vasquez, Zayra *Accepts unsolicited material REBEL WALTZ MANAGEMENT 31652 2nd Ave. Laguna Beach, CA 92651 949-499-4497 E-mail: Web: Contact: Jim Guerinot Styles: punk, rock Clients: The Offspring, No Doubt, Nine Inch Nails, Josh Freese, Gwen Stefani, Robbie Robertson *No unsolicited material REDGORILLA MUSIC FEST E-mail: Web: Contact: Kelly M. Fenton Styles: All genres accepted Clients: Please visit site for more information *Submit via snail mail RED LIGHT MANAGEMENT 925 W. 7th Ave. Denver, CO 80204 303-565-5690 E-mail: info@redlight Web: Styles: All Styles Clients: Tim McGraw, Faith Hill, Alicia Keys, Steve Angello, Phish, Ben Harper, Damian Marley, Alabama Shakes, Petty Lights, Talib Kweli, Miley Cyrus *Accepts unsolicited material

Download This Directory From Our Website Additional locations: Los Angeles Charlottesville New York Nashville London RED STAR 1007 N. Vinedo Ave. Pasadena, CA 91107 626-798-0053 Fax 626-798-2052 E-mail: Contact: Mike Crowley Clients: Diecast Styles: alt., rock Services: personal management *Accepts unsolicited material, please e-mail for permission REGIME MANAGEMENT 105 W. Alameda Ave. #230 Burbank, CA 91502 E-mail: Web: Contact: Ivory Daniel, Kevin Zinger, Benny Glickman, Violet Brown Clients: B-Side Players, Big B, Christian Scott, Dilated Peoples, Jason Ellis, Everlast, House of Pain, Glasses Malone, Mickey Avalon, DJ Muggs, Poncho Sanchez, Slaine, Swollen Members, Unwritten Law ROGER SMITH ENTERTAINMENT P.O. Box 756 Oceanside, CA 92049 310-497-1326 Fax 760-325-5683 E-mail: Services: full service entertainment company specializing in publicity, promotion, marketing and consulting *No unsolicited material RON RAINEY MANAGEMENT, INC. 315 S. Beverly Dr., Ste. 300 Beverly Hills, CA 90212 310-277-4050 Fax 310-557-8421 E-mail: Web: Contact: Ron Rainey Clients: John Kay & Steppenwolf, Billy Dean, August Darnell, Kid Creole & the Coconuts, Marshall Tucker Band, Alvin Lee, Blue Cheer Styles: rock Services: management *No unsolicited material

ROSEN MUSIC P.O. Box 1308 Pacific Palisades, CA 90272 310-471-1272 E-mail: Web: Contact: Steven Rosen Styles: all styles Clients: Kelly Levesque (Due Voci) Randy Johnson, Three Graces, Orianthi, Ryan Newman, Thom Russo *No unsolicited material

Los Angeles, CA 90038 323-856-8222 E-mail: Web: Contact: John Silva Clients: Foo Fighters, Band of Horses, Ryan Adams, Jimmy Eat World, Tenacious D, Beastie Boys, Beck, Probot, Sonic Youth, Queens Of The Stone Age, Taylor Hawkins and the Coattail Riders Styles: alt., rock *No unsolicited material

RPM MANAGEMENT 815 18th Ave. S. Nashville, TN 37203 615-256-1980 E-mail: Contact: April Rider

SHARPE ENTERTAINMENT SERVICES, INC. 683 Palmera Ave. Pacific Palisades, CA 90272 310-230-2100 Fax 310-230-2109 E-mail: Web: Contacts: Wil Sharpe, CEO; Frances Sharpe Manager Clients: Sarah Bettens, Kâ&#x20AC;&#x2122;s Choice, Bigelf, Black Box Styles: alt., pop, S/S, rock Services: Personal management *No unsolicited material

RPM MUSIC PRODUCTIONS 48 W. 10th St., Ste. B New York, NY 10011 212-246-8126 Fax 212-397-1371 E-mail: Contact: Danny Bennett Styles: rock, pop, jazz Clients: Tony Bennett *No unsolicited material RPS RECORDING AND ENTERTAINMENT GROUP 4212 E Los Angeles Ave. Simi Valley, CA 93063 805-551-2342 E-mail: Web: Contact: Gary Bright Styles: Various genres along with Gospel and Christian *No unsolicited material please RUSSELL CARTER ARTIST MANAGEMENT 567 Ralph McGill Blvd. Atlanta, GA 30312 404-377-9900 Fax 404-377-5131 E-mail: Web: russellcarterartistmanagement Contact: Russell Carter Styles: S/S, alt., Americana, pop, rock Clients: Indigo Girls, Matthew Sweet, the Bangles, Shawn Mullins, Chely Wright, the Shadowboxers, Larkin Poe SAM Silva Artist Management 722 Seward St.

SILENT PARTNER MANAGEMENT 536 Pantops Ctr., Ste. 343 Charlottesville, VA 22911 434-245-4000 E-mail: contact@ Web: www. Styles: rock Clients: Joey Ramone, Cheap Trick, Ace Frehley, Ministry *No unsolicited material SIREN MUSIC P.O. Box 12110 Portland, OR 97212 503-238-4771 E-mail: december@ Web: Contact: December Carson Styles: roots, americana, rock, folk, s/s, alt. country, Irish, pop, bluegrass Clients: Sara Jackson-Holman,

Caleb Klauder, the Foghorn Stringband, Bella Fayes *Accepts unsolicited material SORKIN PRODUCTIONS 3742 Jasmine Ave., Ste. 201 Los Angeles, CA 90034 310-559-5580 Fax 310-559-5581 E-mail: Contact: Don Sorkin Styles: R&B, pop, rock, dance Services: Personal management, publishing *Call for approval before sending material SOUNDTRACK MUSIC ASSOCIATES 1460 4th St., #308 Santa Monica, CA 90401 310-260-1023 E-mail: Web: Contact: John Tempereau Styles: All Styles Clients: Cliff Martinez, John Swihart, Jeff Danna, Jeff Cardoni, Tree Adams, Alf Clausen *No unsolicited material SO WHAT MEDIA & MANAGEMENT 890 W. End Ave., Ste. 1-A New York, NY 10025 212-877-9631 E-mail: Contact: Lisa Barbaris Styles: rock, pop Clients: Simply Red, Cyndi Lauper, True Colors Tour, Vivian Green, Hunter Valentine *No unsolicited material SPA MUSIC MANAGEMENT, INC. 2 Generations 275 Madison Ave., Ste. 1905 New York, NY 10016 212-661-6990 Cell 917-951-3645 E-mail: aberger@ Web: Contact: Aimee Berger Clients: Matt Stamm, Natascha Sohl, Jeff Stephens, Nicolette Hart, Michael and Marisa



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March 2013 67

Download This Directory From Our Website Styles: rock, pop, S/S *See web for info STAGE RIGHT TALENT 2141 Pamela Street Oxnard, CA 93036 805-485-5109 Fax 805-485-5108 E-mail: Web: stageright Contact: Jasmine Spencer Styles: R&B, jazz, gospel, latin, reggae, reggaeton, soul, pop *Accepts unsolicited material STANN FINDELLE LAW & MANAGEMENT 2029 Century Park E., Ste. 900 Los Angeles, CA 90067 310-552-1777 Fax 310-286-1990 E-mail: Contact: Stann Findelle Clients: Kenny Sargent, Joe Dallesandro, Speed Freaks, Cosmopolis, Kimmie Heaven, Earthworks Film Styles: all Services: Personal management, legal services *Call for approval before sending material STAR DIRECTION, INC. 9157 Sunset Blvd., Ste. 215 W. Hollywood, CA 90069 310-271-7186 Fax 310-550-8471 E-mail: Clients: The Temptations Styles: R&B Services: Personal management *No unsolicited material STARKRAVIN’ MANAGEMENT McLane & Wong 11135 Weddington St., Ste. 424 N. Hollywood, CA 91601 818-587-6801 Fax 818-587-6802 E-mail: Web: Contact: Ben McLane, Esq. Styles: pop, rock, alt. Services: Personal management, legal services *Accepts unsolicited material STERLING ARTIST MANAGEMENT, INC. 11054 Ventura Blvd., Ste. 285 Studio City, CA 91604 818-907-5556 Fax 818-907-5558 E-mail: Web: Artists.html Contact: Mark Sterling Clients: Hope Waits, Carolina Brooks, Professor RJ ross, Re-Delux Styles: S/S, Americana, blues Services: Personal management *Inquiry letters accepted STEVEN SCHARF ENTERTAINMENT 126 E. 38th St. New York, NY 10016 212-779-7977 x3905 Fax 212-725-9681 E-mail: Web: Contact: Steven Scharf Styles: rock, alt., S/S, hiphop, world, producers, film & tv composers Clients: Michale Vail Blum, Julius 68 March 2013

Butty, Shane Faber, Askold Buk, Zain Effendi, Mark Suozzo, 46bliss *No unsolicited material STEVE STEWART MANAGEMENT 12400 Ventury Blvd., #900 Studio City, CA 91604 E-mail: stevestewart@ Web: Contact: Steve Stewart Styles: alt., rock, pop producers, film & TV composers *No unsolicited material STIEFEL ENTERTAINMENT 21731 Ventura Blvd. Ste. 300 Woodland Hills, CA 91364 310-275-3377 Fax 310-271-5175 Contact: Arnold Stiefel Clients: Rod Stewart Styles: rock, pop Services: personal management *No unsolicited material STREET SMART MANAGEMENT 2323 W. El Segundo Blvd, Hawthorne, CA 90250 E-mail: sara@streetsmart Web: www.streetsmart Contact: Sara Kinne Clients: Exodus, Girl On Fire, Bob Wayne, The Relapse Symphony, Speaking The King’s, Act As If, Vendetta Red, Carson Allen, Into The Flood, The Natural Born Killers, Shan Dan Styles: rock, metal, indie, pop Services: artist management SUNCOAST MUSIC MANAGEMENT 9215 Jminez Dr. Hudson, FL 34669 727-868-3828 Fax 888-727-1698 E-mail: Web: Contact: Al Spohn Styles: disco, rock, classic rock, variety Clients: Poison’d and Red White and Crue (tributes to Poison and Mötley Crüe package), Hells/ Bells (AC/DC Tribute), Battery (Metallica) Paradise City (GNR), Live Bait (Jimmy Buffett & Party Band), Stayin Alive (Bee Gees & 70s Disco), Space Cowboy (Steve Miller Band), Higher Ground (Red Hot Chili Peppers Tribute) *Accepts unsolicited material SUPERVISION MANAGEMENT London, UK Web: supervisionmanagement Clients: Franz Ferdinand, Kaiser Chiefs, The Cribs, Crystal Castles, White Lies Styles: Indie, Rock TAKEOUT MANAGEMENT 1129 Maricopa Hwy, #238 Ojai, CA 93023 805-382-2200 Fax 805-201-7816 E-mail: Web: Contact: Howard Rosen Clients: Rebecca Moreland (artist) David Grow (producers), Jim McGorman, Kevin Wesley Williams, Rodney Shelton, Jon Gass, Ken Callait, Dito Godwin Styles: All Services: Personal management, shop for distribution and record deals. Production and remix with major producers. SURVIVAL MANAGEMENT 30765 PCH, Ste. 325 Malibu, CA 90265 310-317-9223 E-mail: Web: Contact: Bob Ringe Styles: rock, hard rock, alt. Clients: Archer, Leslie West, Zakk Wylde, Black Label Society, Mountain, Bruce Jr., and Laing, The Golden Ghosts *No unsolicited material TED KURLAND ASSOCIATES 173 Brighton Ave. Boston, MA 02134 617-254-0007 Fax 617-782-3577 E-mail: Web: Contact: Ted Kurland Styles: jazz, blues, vocals Clients: Pat Metheny, Chick Corea, Julian Lage, Ellis Marsalis, Ramsey Lewis, Danilo Perez, Marian McPartland, Bill Charlap, Wynton Marsalis, Christian McBride, Dee Dee Bridgewater, Ann Hampton Callaway, Stacey Kent, Stanley Clarke and more *No unsolicited material TEN ENTERTAINMENT, INC. 1449 Alteras Cir. Nashville, TN 37211 615-289-2822, Fax 866-230-3942 E-mail: shannon@ Web: Contact: Shannon Brown Styles: All Styles Clients: Our Heart’s Hero, Philmont, Shay Watson, Eric Mizelle, Shay Watson, Eric Mizelle *Accepts unsolicited material: e-mail with links to Myspace or other online outlets with your music. Do not e-mail MP3s unless requested. TENTH STREET ENTERTAINMENT 38 West 21st St., Ste. 300 New York, NY 10010 212-334-3160 E-mail: Web: Contact: Allen Kovac Clients: Motley Crue,, Sixx AM, Drowning Pool, Papa Roach, Blondie, Deborah Harry, Crossfade, Eve, Hellyeah, Deuce, Oh No Fiasco, Nico Vega, Five Finger Death Punch Styles: All Services: personal management *No unsolicited material Additional location: 700 San Vicente Blvd, #G410 West Hollywood, CA 90069 310-385-4700 E-mail:

TG2 ARTISTS P.O. Box 550 Carrboro, NC 27510 919-967-8655 Fax 919-869-2410 E-mail: Web: Contact: Trish Galfano Styles: folk, bluegrass, jazz, Americana Clients: The John Jorgenson Quartet, Bearfoot, Claire Lynch Band *No unsolicited material THAT’S ENTERTAINMENT INTERNATIONAL, INC. (T.E.I.) 3820 E. La Palma Ave. Anaheim, CA 92807 USA 714-693-9300 Fax 714-693-7963 E-mail: jmcentee@ Web: Contact: John McEntee Styles: All Services: Entertainment broker for corporate/concert events, personal management *No unsolicited material THREE ARTIST MANAGEMENT c/o Red Light Management 8439 Sunset Blvd. Los Angeles, CA 90069 310-273-2266 E-mail: Web: Contact: Richard Bishop Clients: The Crystal Method, Jason Lytle/Grandaddy, Henry Rollins, Tobias Enhus, Sander Kleinenberg, Tommy Stinson, Static Revenger, DJ Rap, The Art, Film and TV Projects Styles: All Services: personal management, agency *No unsolicited material THREEE Erik Eger Entertainment, Inc. 2906 Rowena Ave. Los Angeles, CA 90039 213-381-5100 Fax 213-381-5115 E-mail: info@ Web: www.erikeger Contact: Erik Eger Styles: All Styles Clients: Rich Costey, Chris Carmouche, Michael H. Brauer, Dan Carey, Stuart Matthewman, Sly and Robbie, John Hill, Chris Coady, Kid Harpoon *We do not accept unsolicited material THUNDERBIRD MANAGEMENT GROUP 11840 Hwy. 308 Larose, LA 70373 985-798-5665 E-mail: Web: www.thethunderbird Contact: Rueben Williams Styles: all styles *Accepts unsolicited material TKO ARTIST MANAGEMENT 2303 21st Ave. S., 3rd Fl. Nashville, TN 37212

Download This Directory From Our Website 615-383-5017 Fax 615-292-3328 Web: Contact: T.K. Kimbrell Styles: Country Clients: Mac McAnally, Toby Keith, Carter’s Chord, Chris LeDoux, JT Hodges, Krystal Keith *No unsolicited material TOM CALLAHAN & ASSOCIATES P.O. Box 1960 Manhattan Beach, CA 90267 310-418-1384 E-mail: Web: Contact: Tom Callahan Styles: All Services: full-service consulting company, including record promotion, legal services, Internet marketing, web design, retail promotion and publicity. *No unsolicited material TONY MARGHERITA MANAGEMENT E-mail: Web: Contact: Tony Margherita Styles: rock, jazz Clients: Wilco, Glenn Kotche, Jeff Tweedy, Wilco, Glenn Kotche, Nels Cline, The Baseball Project, Lucius *No unsolicited material TOURWERKS 1939 Grand Ave., 2nd Lvl. San Diego, CA 92109 858-490-3961 Fax 858-490-3962 E-mail: Web: Contact: Chris Renzulli Styles: All *Accepts unsolicited material TOWER MANAGEMENT Suite U-V-W Button Floor Rear of Building 19 Music Sq. W. Nashville, TN 37203 615-401-7111 Fax 615-401-7119 E-mail: EdRussell@castlerecords. com Web: Contact: Ed Russell Styles: country, rock, AC, bluegrass, blues Clients: Shara Michelle Austin, Carl Butler, Cody Dooley, Edd Greer, Missy Garnett, Jerry Presley, Eddie Ray II, Jimmy Velvet,

Eddie Ray *Accepts unsolicited material TRICK MANAGEMENT UK: +44-208-314-0479 E-mail: ask@trickrmanagement. com Web: Contact: Roger-UK & Foye-USA Clients: Olfar, Bear Driver, Stewart Agnew, Roger Bechirian Styles: Modern Rock, indie *No unsolicited material TRUE TALENT MANAGEMENT 9663 Santa Monica Blvd., #320 Dept WEB Beverly Hills, CA 90210 310-560-1290 E-mail: webinfo@truetalentmgmt. com, submission@truetalent Web: Contact: Jennifer Yeko Clients: Specializing in film/TV placement, radio promotion, music publicity and managing pop/rock/ singer-songwriters *Accepts unsolicited material TUNSTALL MANAGEMENT 1420 Willowbrooke Cir. Franklin, TN 37069 615-376-9880 Fax 615-376-9892 E-mail: Contact: Vicki Tunstall Howell Styles: alt., rock, urban, R&B Services: Personal management *No unsolicited material TUSCAN SUN MUSIC Nashville, TNߐ 615-794-0485 Fax 615-591-1463 ߐE-mail: mgmt@angelica.orgߐ Web:, Contact: Jules Delgado Styles: Ambient, New Age, Inspirational, Pop, Film/TV Clients: Seay, Pat Thomi *No unsolicited material UNION ENTERTAINMENT GROUP, INC. 31225 La Baya Dr., Ste. 213 Thousand Oaks, CA 91362 818-879-1770 Fax 818-879-0832 E-mail: Web: Contact: Tim Heyne, Bryan Coleman Clients: Nickelback, Default, Cinderella, Paul Gilbert, Daniel Clients: Matt Kennon, Maren Morris, Ryan Broshear, Brant Cotton, The DTease, The Earps, False Puppet, Scott McKain, Greg Ginn, Wilson Gil & the Willful Sinners

Powter, Kevin Costner & \Modern West Styles: Rock Services: personal management *No unsolicited material VARRASSO MANAGEMENT P.O. Box 387 Fremont, CA 94537 510-792-8910 E-mail: Web: Contact: Richard Varrasso Styles: rock, covers, country Clients: Eddie Money, Tom Wurth, The HazeXperience, Ira Walker *Accepts unsolicited material

WOLFSON ENTERTAINMENT, INC. 22201 Ventura Blvd., Ste. 207 Woodland Hills, CA 91364  818-615-0499 Fax 818-615-0498   E-mail:  Contact: Jonathan Wolfson, Dillon Barbosa Web: Styles: All  Clients: Daryl Hall & John Oates, Loverboy Services: Personal management. Also offers full-service media relations for management clients.

VECTOR MANAGEMENT P.O.Box 120479 Nashville, TN 37212 615-269-6600 E-mail: Web: Contact: Ken Levitan Styles: country, pop, S/S *No unsolicited material VELVET HAMMER MANAGEMENT 9911 W. Pico Blvd., Ste. 350 W. Los Angeles, CA 90035 310-657-6161 E-mail: Web: Clients: System of a Down, Alice in Chains, the Deftones, Cypress Hill, Battle Lines Specialties: All *Accepts unsolicited material WANTED MANAGEMENT E-mail: Styles: rock, pop, punk, soul Services: personal management *No unsolicited material WARREN ENTNER MANAGEMENT 818-763-4422 E-mail: Contact: Warren Entner Clients: Faith No More, Biffy Clyro Styles: rock, alt. Services: Personal management *No unsolicited material SHELLIE WILKINSON Artist Management 805-689-7917 E-mail: shellie@lwmedia

WORLDSOUND 17837 1st Ave. S., Ste. 3 Seattle, WA 98148-1728 206-444-0300 Fax 206-244-0066 E-mail: Web: Contact: Warren Wyatt Styles: rock, world, Celtic, folk, pop Clients: Na Leo, Keith Olsen, One Right Turn, Sage, The Dive Bar Stalkers, Drexel, Children of the Revolution, Anuhea Services: personal management and consulting *See website for submission information Additional location: 150 Hamakua Dr., Ste. 700 Kailua, HI 96734 808-262-6300 Fax 808-822-9609 YES, DEAR ENTERTAINMENT 2250 S. Beverly Glen Blvd., #204 Los Angeles, CA 90064 310-203-9007 E-mail: Web: Contact: Mike Gormley, Jolene Pellant, Asst. Tammy Priess Clients: Simon Lynge, Ronny Cox Styles: All Services: full-service including marketing and consultancy *No unsolicited material ZADA MANAGEMENT 11732 Kiowa Ave.

Post a free ad seeking musicians Find jobs with working bands Thousands have used us since 1969!



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Download This Directory From Our Website Los Angeles CA 90049 310-597-1882 E-mail: Contact: Jack Styles: All Services: Personal management *Accepts unsolicited promotional packages

BOOKING AGENTS 1ST TOTAL MUSIC POWER Los Angeles, CA 323-650-9400 E-mail: Web: Contact: Aaron Styles: Rock; Jazz, Alt, Film, All Clients: Aaron Wolfson, Mercedes, the Broadcasters Services: Corporate events, concerts, private parties, recording sessions, producers, film/TV music (all). *Communicate your request first. 25 Live 24 Music Sq.W. Nashville, TN 37203 615-777-2227 E-mail: Web: Contact: David Breen Styles: Christian *No unsolicited material ACA MUSIC & ENTERTAINMENT 1025 S. Moorland, #505 Brookfield, WI 53005 800-279-7909, 262-790-0060 Fax 262-790-9149 E-mail: Web: Contact: Louie Higgins Styles: Variety, Bluegrass, Bands, Lounge Acts, Nostalgia, DJ’s, Club, Festival Bands, Ceremony, Dinner Hour, Cocktail Services: Represents nightclub & acts for private functions, not currently seeking new clients *Accepts unsolicited material

ACTS NASHVILLE 1103 Bell Grimes Ln. Nashville, TN 37207 615-254-8600 E-mail: Web: Contact: Lee Shields Styles: country, rock, nostalgia & variety only Clients: info upon request *No unsolicited material

Brooklyn, NY 11201 718-237-2428 E-mail: Web: Contact: Paul Morris Styles: rock, hip-hop, electronica, industrial Clients: info upon request *No unsolicited material

AGENCY FOR THE PERFORMING ARTS (APA) 405 S. Beverly Dr. Beverly Hills, CA 90212 310-888-4200 Fax 310-888-4242 Web: Contact: Jon Moore Styles: All *Call before submitting material

6725 Sunset Blvd., Ste. 220 Los Angeles, CA 90028 718-237-2428

Additional locations: 45 W. 45th St., 4th Fl. New York, NY 10036 212-687-0092 Fax 212-687-0176 3010 Poston Ave. Nashville, TN 37203 615-297-0100 Fax 615-297-5434 AGENCY GROUP, THE 1880 Century Park E., Ste. 711 Los Angeles, CA 90067 310-385-2800 Fax 310-385-1220 Web: Clients: See site for a list *No unsolicited material Additional locations: New York, NY 142 W. 57th St. - 6th Fl. New York, NY 10019 212-581-3100 Fax 212-581-0015 Nashville, TN 209 10th Ave. S. Ste. 337 Nashville, TN 37203 615-564-2580 Fax 615-564-2585

ACT 1 ENTERTAINMENT P.O. Box 1079 New Haven, CT 06504 203-785-8338 Fax 203-865-9867 E-mail: Web: Contact: Martha Martin Styles: rock & roll, blues, acoustic, swing, folk, Caribbean Services: mostly books acts for parties/events Clients: info upon request *Accepts unsolicited material

A&M ENTERTAINMENT 13280 N.W. Fwy., Ste. F-328 Houston, TX 77040 713-970-1015 E-mail: Web: Contact: Keetria Gardner-Chamber Styles: All Styles Clients: info upon request *No unsolicited material

Additional locations:

Los Angeles New York City

Stonington, CT 860-535-0052 Carmela Congdon Newington, CT 732-690-4437 Michael Donaghey Boca Raton, FL / Charlotte, NC Dave Coviello 561-251-7338 Westport, CT 203-376-2636 John Paolillo 70 March 2013

Additional locations:

AMERICAN ARTISTS 315 S. Beverly Dr., Ste. 300 Beverly Hills, CA 90212 310-277-7877 E-mail: Web: Contact: Michael Weinstein Styles: rock, classic rock, country, R&B, swing Clients: info upon request *No unsolicited material A.M. ONLY 55 Washington St., Ste. 658

Additional locations:

ARTIST REPRESENTATION & MANAGEMENT 1257 Arcade St. St. Paul, MN 55106 651-483-8754 Fax 651-776-6338 E-mail: Web: Contact: John Domagall Styles: specializes in ‘80s-early ‘90s rock, country, blues, metal Clients: info upon request *No unsolicited material BACKSTREET BOOKING 700 W. Pete Rose Way, Ste. 390, POB 18 Cincinnati, OH 45203 513-442-4405 E-mail: Web: Contact: Jim Sfarnas Styles: progressive fusion, jazz, rock, jam, metal Clients: info upon request *No unsolicited material BBA MANAGEMENT & BOOKING 512-477-7777 Web: Styles: jazz, Latin, rock, classical S/S, *No unsolicited material BIG BEAT 1515 University Dr., Ste. 102 Coral Springs, FL 33071 954-755-7759 E-mail: rlloyd@bigbeat Web: Contact: Richard Lloyd Styles: All Styles Clients: info upon request *Accepts unsolicited material BILL HOLLINGSHEAD PRODUCTIONS, INC. 1010 Anderson Rd. Davis, CA 95616 530-758-9779 Fax 530-758-9777 E-mail: Web: Contact: Bill Hollingshead Styles: California surf music, classic ‘50s and ‘60s rock *No unsolicited material BOBBY ROBERTS COMPANY, THE P.O. Box 1547 Goodlettsville, TN 37070 615-859-8899 Fax 615-859-2200 E-mail: Web: Contact: Brian Jones Styles: mostly country, some pop & rock

Clients: info upon request *No unsolicited material BOOKING ENTERTAINMENT 275 Madison Ave., 6th Fl. New York, NY 10016 1-800-4ENTERTAINMENT 212-645-0555 E-mail: steve@ Contact: Steve Einzig Styles: rock, pop, jazz, adult contemporary, pop, R&B Clients: info on website. *No unsolicited material BUDDY LEE ATTRACTIONS 38 Music Sq. E., Ste. 300 Nashville, TN 37203 615-244-4336 Web: Contact: Kevin Neal Styles: Country, rock, pop, bluegrass *Accepts unsolicited material See website for other locations CANTALOUPE MUSIC PRODUCTIONS Ellen Azorin, President 157 W. 79th St., Ste. 4A New York, NY 10024 212-724-2400 E-mail: Web: www.cantaloupe Clients: see website Styles: Booking agent specializing in Brazilian, Argentine, Cuban and other Latin music, as well as other world music and top level jazz ensembles. *Does not accept unsolicited material CELEBRITY TALENT AGENCY INC. 111 E. 14th St., Ste. 249 New York, NY 10003 212-539-6039, 201-837-9000, 201-678-9222 E-mail: markg@ Web: Contact: Mark Green Styles: jazz, R&B, hip-hop, comedians, gospel Clients: info upon request *No unsolicited material BRUCE COLFIN LAW, PC 1178 Broadway, Ste. 312 New York, NY 10001 212-691-5630 Email: Web: Contact: Bruce E. Colfin Styles: rock, blues, world, reggae Clients: Dark Star Orchestra, Mick Taylor, Sly & Robbie, Marty Balin, Freddie McGregor, Niney the Observer, Bernard Purdie *Accepts unsolicited material Submit material w/ a S.A.S.E. & proper postage for return CIRCLE TALENT AGENCY 8383 Wilshire Blvd. Suite 1030 Beverly Hills, CA 90211 323-424-4970 Fax 323-424-4976 Web:

Download This Directory From Our Website Contact: Various, see http:// COAST TO COAST MUSIC PO Box 18334 Encino, CA 91416 818-376-1380 E-mail: Web: http://positivemusic Contact: Chris Fletcher COLLIN ARTISTSߐ Pasadena, CA 91104 ߐ323-467-4702, 323-556-1046 E-mail: Web: Contact: Barbara Collin, Robert Sax, Goh Kurosawa Clients: Mary Stallings, Jeri Brown, Carmen Lundy, Kevin Mahogany, Andy Bey, Alan Paul, Pete Escove4do Latin Jazz Masters, Bobbi Humphrey, Pamela Williams and more Styles: jazz, blues, world, Latin, R&B, doo wop/classics and beyondߐ Services: Management, promotion, consulting, booking, workshops ߐ *No unsolicited material CONCERTED EFFORTS, INC. P.O. Box 440326 Somerville, MA 02144 617-969-0810 Fax 617-209-1300 E-mail: concerted@ Web: Contact: Paul Kahn Styles: blues, soul, jazz, gospel, zydeco, Cajun, folk, s/s, rock, world Clients: info upon request *No unsolicited material CORALIE JUNIOR AGENCY 907 S. Victory Blvd. Burbank, CA 91502 818-842-5513 Contact: Coralie Junior Styles: ‘50s-’60s, nostalgia, modern, diversified *No unsolicited material CREATIVE ARTISTS AGENCY 2000 Ave. of the Stars Los Angeles, CA 90067 424-288-2000 Fax 424-288-2900 Web: Styles: All *No unsolicited material or No phone calls

Additional locations: New York 212-277-9000 Nashville 615-383-8787 London +020-8846-3000 DALE MORRIS & ASSOCIATES MORRIS ARTIST MANAGEMENT 818 19th Ave. S. Nashville, TN 37203 615-327-3400 Fax 615-327-0312 Web: Styles: Country Clients: Kenny Chesney, Martina McBride, Louise Mandrell, Big and Rich, Blaine Larson, Jake Owen, Andy Gibson *No unsolicited material DAVIS MCLARTY AGENCY 708 S. Lamar Blvd., Ste. D Austin, TX 78704 512-444-8750 Fax 512-416-7531 E-mail: Web: Contact: Davis McLarty Styles: alt. country, roots, blues, Americana Clients: info upon request *No unsolicited material D. BAILEY MANAGEMENT 15100 Hutchison Rd., Ste. 111 Tampa, FL 33625 813-960-4660 Fax 813-960-4662 E-mail: dennis@, liza@ Web: Contact: Dennis Bailey or Liza Saturday Styles: pop, R&B, top 40, rock, variety Clients: info upon request *No unsolicited material EAST COAST ENTERTAINMENT 703 Southlake Blvd, Richmond, VA 23236 804-353-3407 Web: www.eastcoast Contact: Lee Moore Styles: rock, acoustic, classical, latin, jazz, pop, R&B, funk *No unsolicited material See website for additional locations ELECTRIC EVENTS CORPORATION P.O. Box 280848 Lakewood, CO 80228 303-989-0001 Fax 303-989-0037 E-mail: Web: Contact: Michael A. Tolerico Styles: pop cover bands only Clients: info upon request *No unsolicited material ENTERTAINMENT SERVICES INTERNATIONAL 6400 Pleasant Park Dr. Chanhassen, MN 55317 952-470-9000 Fax 952-474-4449 E-mail: randy@ Web: Contact: Randy Erwin Styles: mostly classic rock Clients: info upon request *No unsolicited material ENTOURAGE TALENT ASSOCIATES 236 W. 27th St., 8th Fl. New York, NY 10001 212-633-2600 Fax 212-633-1818 E-mail: administration@ Web: Contact: Wayne Forte Styles: rock, pop, S/S, jazz Clients: info upon request *No unsolicited material FAT CITY ARTISTS 1906 Chet Atkins Pl., Ste. 502 Nashville, TN 37212 615-320-7678 Fax 615-321-5382 Web: Styles: nostalgia, country, big band, bluegrass, blues, R&B, Cajun, world, folk, funk, gospel, jazz *NO Rap or Opera Clients: info upon request *No unsolicited material FLEET TEAM BOOKING 1808 S. Carpenter St. Chicago, IL 60608 312-455-1350 Fax 773-442-0224 E-mail: Web: Contact: Scott Comeau Styles: punk, indie rock, hip-hop Clients: info upon request *No unsolicited material

March 2013

FORSYTH AGENCY 412-251-5841 Fax 412-586-7962 E-mail: Web: Contact: Scott Forsyth Clients: info upon request *No unsolicited material GORFAINE-SCHWARTZ AGENCY 4111 W. Alameda Ave., Ste. 509 Burbank, CA 91505 818-260-8500 E-mail: Web: Clients: info upon request *No unsolicited material GREAT AMERICAN TALENT P.O. Box 2476 Hendersonville, TN 37077 615-452-7878 E-mail: Web: Contact: Sheila Futch Styles: country, Cajun Clients: info upon request *No unsolicited material HARMONY ARTISTS INC. 6399 Wilshire Blvd., Ste. 914 Los Angeles, CA 90048 323-655-5007 Fax 323-655-5154 E-mail: acrane-ross@ Web: Contact: Adrienne Crane-Ross Styles: tribute, nostalgia, R&B, Latin, blues, bluegrass, jazz, swing *No unsolicited material HELLO! BOOKING P.O. Box 18717 Minneapolis, MN 55418 651-647-4464 E-mail: Web: Contact: Eric Roberts Styles: bluegrass, country, rock, folk, pop, jazz, indie, hip-hop, acoustic, rockabilly Clients: info upon request *Accepts unsolicited material HIGHWAY KEY TOURING & PROMOTION 773-743-9546 Fax 270-626-1899 E-mail: Web: Contact: Casey Scott Styles: blues, roots, rock, alt. country, folk 71

Download This Directory From Our Website Clients: info upon request *No unsolicited material INA DITTKE & ASSOCIATES 770 N.E. 69th St., Ste. 7C Miami, FL 33138 305-762-4309 E-mail: Web: Contact: Ina Dittke Styles: jazz, Latin, world Clients: info upon request INTERNATIONAL CREATIVE MANAGEMENT (ICM) 10250 Constellation Blvd. Los Angeles, CA 90067 310-550-4000 Web: Styles: All *No unsolicited material Additional locations: 730 Fifth Ave. New York, NY 10019 212-556-5600 3rd Fl., Marlborough House 10 Earlham St. London, WC2H, 9LN, England + IN TOUCH ENTERTAINMENT 309 55th St. New York, NY 10019 212-714-7722 Fax 212-202-7579 E-mail: Web: Contact: Charles Carlini Styles: All Styles Clients: Ennio Morricone, George Garzone, Suzanne Ciani, Tori Beaumont, Mamma Freedom *Accepts unsolicited material - via SonicBids only JAM ENTERTAINMENT AND EVENTS 2900 Bristol St., Ste. A - 208 Costa Mesa, CA 92626 714-556-5000 E-mail: dennis@jam Web: *Accepts unsolicited COVER material JEFF ROBERTS & ASSOCIATES 3050 Business Park Cir., Ste. 301 Goodlettsville, TN 37072 615-859-7040 Fax 615-851-7023 Web: Contact: Jeff Roberts Clients: info upon request *No unsolicited material KEITH CASE & ASSOCIATES 1025 17th Ave. S., 2nd Fl. Nashville, TN 37212 615-327-4646 Fax 615-327-4949 E-mail: Web: Styles: bluegrass, roots, folk, S/S Clients: info upon request *No unsolicited material KENMORE AGENCY, THE 1032 W 18th St., Ste. 3A Costa Mesa, CA 92627 714-642-3329 E-mail: mattpike@ 72 March 2013 Web: Contact: Matt Pike Styles: rock, punk, metal, indie rock, hip-hop, electronic Clients: info upon request *No unsolicited material

323-653-0427 E-mail: Web: Contact: Mitch Okmin Styles: rock, alt. Clients: info upon request *No unsolicited material

Additional location:

MONQUI EVENTS P.O. Box 5908 Portland, OR 97228 503-223-5960 E-mail: Web: Styles: alt., rock, indie rock, pop, country *No unsolicited material

P.O. Box 10744 Portland, ME 04104 207-420-3224 E-mail: cody@thekenmore LIVE NATION San Francisco, CA 94142 415-848-0388 Web: Styles: All Styles Services: Producing, marketing and selling live concerts for artists LUTHER WOLF, LLC P.O. Box 162078 Austin, TX 78716-2078 512-448-3065 Fax 512-448-3067 E-mail: Web: Contact: Wayne Nagel Styles: rock, blues Clients: info upon request *No unsolicited material MARSJAZZ BOOKING AGENCY 1006 Ashby Pl. Charlottesville, VA 22901 434-979-6374 E-mail: Web: Contact: Reggie Marshall Styles: Jazz Clients: info upon request *No unsolicited material MAULDIN BRAND AGENCY 1280 W Peachtree St., Ste. 300 Atlanta, GA 30309 404-733-5511 Fax 404-733-5512 E-mail: Web: Styles: urban, pop, hip-hop, R&B Clients: info upon request *No unsolicited material

MONTEREY INTERNATIONAL 200 W. Superior, Ste. 202 Chicago, IL 60654 312-640-7500, Fax 312-640-7515 E-mail: ron@ Web: Contact: Ron Kaplan Styles: blues, jazz, world, rock, pop, Latin, alt., R&B Clients: info upon request *No unsolicited materia Additional location: POB 297 Carmel-by-the-Sea, CA 93921 831-625-6300 Fax 831-625-6335 MUSIC CITY ARTISTS 116 Wilson Pike Cir., Ste. 240 Brentwood, TN 37027 615-266-6223 E-mail: Web: Contact: Steve Pritchard Styles: AC, country, oldies, musicals, tribute, comedy, music Clients: info upon request *No unsolicited material

MUSIC GROUP ENTERTAINMENT LLC 5001 5th St., N.W. Washinton, CA 2001 Celebrity Booking Agency 300 Available Acts 404-822-4138 MAURICE MONTOYA MUSIC E-mail: bookings@ AGENCY 1133 Broadway, Ste. 1608 Web: New York, NY 10010 Contact: Mya Richardson 212-229-9160 Styles: neo soul, R&B, pop, rock, E-mail: country, jazz, alt, dance, reggae, Web: calypso, dance hall, comedy actors Contact: Maurice Orlando *No unsolicited material - not Montoya accepting hip-hop demos Styles: jazz, Afro-Cuban, Brazilian, contemp/pop MUSICIANS CONTACT Clients: info upon request P.O. Box 788 *No unsolicited material Woodland Hills, CA 91365 818-888-7879 MICHAEL KLINE ARTISTS, LLC E-mail: information@ P.O. Box 312 Cape May Point, NJ 08212 Web: 609-884-5986 Contact: Sterling Howard E-mail: info@michael Styles: All, originals or covers Services: Established 40 years Web: as a referral service between Clients: info on request musicians and employers M.O.B. AGENCY 6404 Wilshire Blvd., Ste. 505 Los Angeles, CA 90048


Pittsburgh, PA 15233 412-323-2707 Fax 412-323-1817 E-mail: Web: Contact: George Balderose, Managing Director Styles: Folk, Americana, Celtic, Bluegrass, Old Time, World Clients: info upon request *No unsolicited material MUSTANG AGENCY 6119 Greenville Ave., Ste. 361 Dallas, TX 75206 214-257-0971, 888,480-3650 E-mail: booking@ Web: Contact: Don Brooks Styles: rock, country, pop, metal, pop/punk, alt., classic rock Clients: info upon request *No unsolicited material NANCY FLY AGENCY P.O. Box 90306 Austin, TX 78709 512-288-2023 E-mail: Web: Contact: Nancy Fly Styles: Americana, traditional, roots rock, blues, world Clients: info upon request *No unsolicited material NIGHTSIDE ENTERTAINMENT 10 Crabapple Ln. Greenville, RI 02828 401-949-2004 E-mail: contact@ Web: www.nightside Contact: Al Salzillo Styles: All Styles Clients: info upon request *No unsolicited material OLYMPIC PRODUCTIONS ED HARTMAN MUSIC 4501 Interlake Ave. N., Ste. 7 Seattle, WA 98103 206-634-1142 E-mail: Contact: Ed Hartman Styles: rock, pop, urban, jazz, Latin, Caribbean, world Clients: info upon request *Does not Accept unsolicited material OZARK TALENT 718 Schwarz Rd. Lawrence, KS 66049 785-760-3143 E-mail: Web:,, Contact: Steve Ozark Styles: All Styles Clients: Savoy Brown, Wishbone Ash, W.C. Clark *Accepts unsolicited material PACIFIC TALENT P.O. Box 19145 Portland, OR 97280 503-228-3620 E-mail: Web: Contact: Andy Gilbert

Download This Directory From Our Website Styles: Jazz, Blues, R&B, Rock, Funk, Disco - everything Clients: info upon request *Accepts unsolicited material THE PANTHEON AGENCY 1801 Century Park E., 19th Fl. Los Angeles, CA 90067 310-201-0120 E-mail: Web: http://thepantheon Styles: Talent and Literary PARADISE ARTISTS 108 E. Matilija St. Ojai, CA 93023 805-646-8433 E-mail: Web: Contact: Howie Silverman Styles: rock, pop, alt., legends Clients: info upon request *No unsolicited material Additional location: New York 212-879-5900 PIEDMONT TALENT P.O. Box 680006 Charlotte, NC 28216 704-399-2210 E-mail: Web: Contact: Steve Hecht Styles: acoustic, world, jazz, blues Clients: info upon request *No unsolicited material PROGRESSIVE GLOBAL AGENCY P.O. Box 50294 Nashville, TN 37205 615-354-9100 E-mail: Web: Contact: Jennifer Fowler Styles: rock, pop, world Clients: info upon request *No unsolicited material PYRAMID ENTERTAINMENT GROUP 377 Rector Pl., Ste. 21-A New York, NY 10280 212-242-7274 E-mail: smichaels@ Web: Contact: Sal Michaels Styles: urban, jazz, gospel, classic & contemporary R&B, funk, hip-hop Clients: info upon request *No unsolicited material RED ENTERTAINMENT AGENCY 505 8th Ave., Ste. 1004 New York, NY 100018 212-563-7575 E-mail: info@redentertainment. com Web: Contact: Carlos Keyes Styles: rock, funk, jazz, gospel, R&B, pop, Latin, hip-hop Clients: Dionne Warwick, Chaka Khan, Gloria Gaynor, Sister Sledge, JT Taylor formerly of Kool & the Gang, K-Ci & JoJo, Belinda Carlisle, The Human League,

Cameo, Charlie Wilson, Wang Chung, Hugh Cornwell *No unsolicited material RED RYDER ENTERTAINMENT 1532 N Milwaukee Ave., Ste. 207 Chicago, IL 60622 773-384-0050 E-mail: Web: Contact: Eric Selz Styles: rock, jazz, indie rock, folk, world Clients: info upon request *No unsolicited material THE ROSEBUD AGENCY P.O.Box 170429 San Francisco, CA 94117 415-386-3456 E-mail: Contact: Mike Kappus Web: Styles: funk rock, singer/ songwriter Clients: Trombone Shorty & Orleans Avenue, JJ Cale *No unsolicited material SELAK ENTERTAINMENT 1220 Lida St. Pasadena, CA 91103 626-584-8110 Fax 626-584-8122 E-mail: steve@selak Web: Contact: Steve Selak Clients: ABC TV, Affinity Events, Aligator Pear Events, Ameristar Casinos, APA Agency, Beverly Hills Hotel, Budweiser, CAA Agency, Capital One Credit Card Company, CBS TV, Columbia Pictures, EA Sports, Fox Sports, Major League Baseball, MTV, NBA, NFL, NBC TV, Paramount Pictures, Universal Pictures, Walt Disney Pictures, Warner Brothers, William Morris Agency *no unsolicited material SELF GROUP, LLC, THE P.O. Box 14721 Portland, OR 97293 E-mail: Web: Contact: Krist Krueger Styles: indie, rock, folk, acoustic, experimental, pop Clients: info upon request *No unsolicited material SMC ARTISTS 4400 Coldwater Canyon, Ste. 127 Studio City, CA 91604-5038 818-505-9600 E-mail: Web: Contact: Otto Vavrin II Styles: Film & TV composers Clients: info upon request *No unsolicited material SPECTRUM TALENT AGENCY 212-268-0404 Fax 212-268-1114 E-mail: marc@ Web: www.spectrumtalent Contact: Marc Katz Styles: pop, R&B, dance, hip-hop, theatrical Clients: info upon request *No unsolicited material STEINER TALENT 813 N. Boonville Ave., 2nd Fl. Springfield, MO 65804 417-889-9909 E-mail: Web: Contact: Mark Steiner Styles: All styles *No unsolicited material Additional location: 225 S. Water St. Chandlerâ&#x20AC;&#x2122;s Wharf Wilmington, NC 28401 866-788-4447 TEMPEST ENTERTAINMENT 245 W. 25th St., Ste. 3B New York, NY 10001 212-645-1702 E-mail: lian@, Web: www.tempest Contact: Lian Calvo Serrano Clients: info upon request *No unsolicited material THIRD COAST TALENT P.O. Box 334 Kingston Springs, TN 37082 615-685-3331 E-mail: generalinformation@ Web: Styles: Country Clients: see website for complete roster *No unsolicited material

Harrington, Lloyd St. Martin, Zach Mullinax Styles: rock, folk, pop, rap, jazz, oldies Clients: info upon request *No unsolicited material WALKER ENTERTAINMENT GROUP P.O.Box 7827 Houston, TX 77270 281-431-9393 Fax 713-776-2157 Web: www. Contact: Ernest Walker, President/CEO *No unsolicited material WILLIAM MORRIS AGENCY 9601 Wilshire Blvd. Beverly Hills, CA 90210 310-285-9000 Fax 310-285-9010 Web: Styles: All *No unsolicited material - No phone calls Additional locations: 1325 Ave. of the Americas New York, NY 10019 212-586-5100 Fax 212-246-3583 119 Washington Ave., Ste. 400 Miami Beach, FL 33139 305-938-2000 Fax 305-938-2002 1600 Division St., Ste. 300 Nashville, TN 37203 615-963-3000 Fax 615-963-3090

UNCLE BOOKING 5438 Winding Way Dr. Houston, TX 77091 713-688-4854 Fax 713-681-5260 E-mail: Web: Clients: AU, Kevin Barnes, Bottomless Pit, CEX, Citay, the Coke Dares, Cryptacize, Danielson, Bart Davenport, Deerhoof *No unsolicited material UNIVERSAL ATTRACTIONS AGENCY. 135 W. 26th St. 12th Fl. New York, NY 10001 212-582-7575 x106 Fax 212-333-4508 E-mail: info@universal Web: Contact: Nick Martucci Styles: All Clients: info upon request *No unsolicited material VARIETY ARTISTS INTERNATIONAL 1924 Spring St. Paso Robles, CA 93446 805-545-5550 Fax 805-545-5559 E-mail:,, lloyd@, Web: Contact: Bob Engel, John March 2013


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By C. Michael Brae


Timely Tips for Indie Labels & Artists SO, WHAT DO 2013 AND 2014 hold for indie artists and labels? The key is to view the industry “globally” and not in territories, says one music exec who offers five positive observations related to new trends and promotional tips:

1. Indie Label Opportunities and Partnerships Will Increase All music companies will be focused on streamlining their efforts this year. This involves smarter processes, innovative developments and keeping overhead low. Independent labels typically have had to function with these elements in place from day one; their ability to stay nimble will allow for continued growth opportunity. As business partnerships continue to solidify between content owners and brands, smaller labels will be able to adapt quickly and profit at lower revenue thresholds. This creates a strategic advantage that, if managed properly, we will see an upward trend and growth for indie labels.

2. Artist Development is Back The label retaliation against poor industry numbers has historically been to invest less and less into developing artists in order to sustain long-term careers. The result is, you see quick famed one-hit wonders and lots of crap on the radio. Because labels will seize the opportunity by increasing their budgets by investing in apps, online radio and social media, labels will once again focus on developing sustainable careers––not one-hit wonders. Likewise, A&R will also become relevant which will lead to an increase in music industry jobs.

3. Companies Will Hold Stake in Artists and Corporate Sponsor Partnerships Will Increase

4. Future of Internet Radio Leaning Toward Indie Artists Music I asked my niece, Adriana, who is now 22 years old, when was the last time she listened to an FM radio station; she replied that it was when she was 13 years old, go figure! She told me “Uncle, come on, who does that?” All the music she listens to is online and on Internet radio. With that being said, I would recommend to start changing your promotional approach from traditional FM radio stations to Internet radio stations. The radio industry has always had a limited number of availabilities for introducing new artists, affected by the increased amount of advertising and availabilities slots, not to mention “support,” meaning spins (that’s another story). In addition, traditional radio still plays to the masses; that means it

5. Deciding Your “Ultimate Music Aggregator” There are hundreds of digital retail stores worldwide. Who do you pick as your “ultimate music aggregator” in positioning, promoting and selling your music to gain the most ground in supporting your overall digital sales efforts? I recently spoke to Steve Norris, one of the partners of MondoTunes, who commented, “While most independent distributors reach only 45-50 retailers, despite charging needless monthly and yearly fees, MondoTunes reaches over 750 retailers and mobile partners in over 100 world regions without any monthly or yearly fees.” He stated that they are the only global distributors that assists in marketing and promotions in supporting artists efforts in getting music heard by the masses. They have a veteran team with familiarity and hands-on experience that covers songwriting, production, A&R, booking, tour management, marketing, distribution, media and licensing. MondoTunes boasts the largest music distribution in the world, and provides upstream services for many major labels in search of breakout artists. What makes MondoTunes unique, is their ability to provide the largest global digital distribution in conjunction with a comprehensive worldwide online marketing campaign to maximize artists’ hype and exposure. Artists retain 100 percent ownership of their own master recordings, publishing, and songwriting credits. My recommendation is very simple—750 retailers in over 100 countries for under $38 an album. Check out With all the new changes in the music industry, the goal for any artist or indie label is to make their mark in history. It’s all about mastering “paradigm.” The most critical point to understand about paradigm is that in a paradigm shift, everything goes back to zero. What does that mean? It means that whatever made you successful in the old paradigm may not even exist or be necessary in the new paradigm. Sounds familiar, sure the old music industry platform and the old “brick and mortar” retail systems versus the new digital world of music with hundreds of online digital retailers, online radio and social media support! To master paradigm, you must be able to identify the paradigm shifts that are going on around you and position your brand accordingly. Position yourself for the future, which is now! Take advantage of corporate sponsorship partnerships, MICRO-BIO: C. Michael Brae is the author develop artists, build and expand of the new book, Music Distribution–Selling your labels brand by finding the Music in the New Entertainment Marketplace “choice” music aggregator in (Vol.3). He is the Founder and CEO of Hitman expanding your music worldwide Records. See while marketing your brand.

“Whatever made you successful in the old paradigm may not even exist or be necessary in the new paradigm.”

Because so many companies are now adopting the Apple advertising model by using relatively unknown musicians in product campaigns, partnership expectations will also change. This will lead to companies expecting 360 deals just like the record labels. For example, if Pepsi makes the collective decision to break an artist by putting their tunes in an upcoming commercial, Pepsi will now expect to have a percentage stake in digital and physical sales for X amount of time. It is an inevitable partnership now that businesses clearly understand the parallel between advertising and music. (Always remember: “Music is Universal.”)

78 March 2013

demands familiar artists and redundancy of songs. The future for music discovery lies with you, the indie artist. And keep in mind, Internet radio is not saturated with advertising, for now!

March 2013 79

80 March 2013

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Music Connection's March 2013 Issue  
Music Connection's March 2013 Issue  

Q&A with the Avett Brothers, DIY Management, Indie Label & Artist Tips and much more