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Informing Music People Since 1977 *ANUARY  s 6OL  s .O 


She & Him In this exclusive Q&A with the duo’s M. Ward, you’ll learn how they approached and completed Classics, their new album of 13 standards originally recorded by Frank Sinatra, Van Morrison, the Byrds Dusty Springfield and others.

By Dan Kimpel Photos: Autumn DeWilde

48 Artist Profile - V 2 Meet twin siblings Vittorio and Vincenzo, who walked away with seven L.A. Music Awards. By Rob Putnam

Departments 08. Close Up 09. Assignments 10. New Toys 14. Book Store 16. Up Close 18. Studio Mix 23. Business Affairs 26. Signing Stories 28. Song Biz 32. FilmsTVsTheater 34. Mixed Notes

Label Scouts We chat with major and indie label A&R reps about their likes and dislikes when it comes to finding and signing exceptional talent in 2015.

By Bernard Baur

40 60 Directory of A&R 66 Directory of Music Attorneys

Reviews 50. Album Reviews 52. New Music Critiques 54. Live Reviews

Compiled By Denise Coso Be sure to follow Music Connection on Facebook and Twitter.

20. Producer Crosstalk: Dan Korneff . . . . . . . . . . . . . . . . . . . . . . . . . . . By Rob Putnam 22. Exec Profile: Adam Alpert, Disruptor Mgmt & Records . . . . . . . . By Andy Kaufmann 30. Songwriter Profile: Gregg Alexander . . . . . . . . . . . . . . . . . . . . . . . . . . . By Dan Kimpel 44. Expert Advice: Build Your Brand Identity with a Slogan or Tagline . . . . . By Bobby Borg 46. Career Connection: In-ear Monitors - Fact v. Fiction . . . . . . . . . . . . . . . By Paul Irwin 78. Tip Jar: Are You Being Realistic About Your Talent? . . . . . . . . . . . . . . By Glenn T. Litwak 4

January 2015

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.





Siri Svay

Steve Sattler



Barry Rudolph




Siri Svay

Dan Kimpel



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Andy Kaufmann Rob Putnam Editorial Interns

Liza Cano Austin Wood CONTRIBUTING WRITERS Carl Anthony, Allegra Azzopardi, Bernard Baur, Danica Bellini, Brett Bush, Jeannie Deva, Gary Graff, Eric A. Harabadian, Ted Jamison, Andy Kaufmann, Jessica Pace, Victoria Patneaude, Rob Putnam, Adam Seyum, Daniel Siwek, Vincent Stevens, Laurier Tiernan, Brooke Trout, Albert Vega, Jonathan Widran, Ellen Woloshin PHOTOGRAPHERS Allegra Azzopardi, Bernard Baur, Daren Cornell, Jody Domingue, Jim Donnelly, Kevin Estrada, Apple Kaufmann, David Klein, Tony Landa, Dave Long, Thomas Long, Jessica Pace, Victoria Patneaude, Scott Perham, Rob Putnam, Alexander G. Seyum, Danny Seyum, Mark Shiwolich, Daniel Siwek, Vincent Stevens, Brian Stewart, E. H. Tiernan, Paula Tripodi, Brooke Trout, Albert Vega, Ellen Woloshin MANUFACTURED AND PRINTED IN THE UNITED STATES OF AMERICA Music Connection (ISSN# 1091-9791) is published monthly by Music Connection, Inc., 3441 Ocean View Blvd., Glendale, CA 91208. Single copy price is $3.95, Canada $4.95. Subscription rates: $35/one year, $59/two years. Outside the U.S., add $25 (U.S. currency) per year. We are not responsible for unsolicited material, which must be accompanied by return postage. All rights reserved. Reproduction in whole or part without written permission of the publishers is prohibited. The opinions of contributing writers to this publication do not necessarily reflect the views of Music Connection, Inc. Copyright Š 2015 by E. Eric Bettelli. All rights reserved. Founded by: J. Michael Dolan /

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January 2015

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Over 20 Years of International Audio Experience: For Maor Appelbaum, who launched his thriving one-man mastering suite in Los Angeles in 2008, being a mastering engineer is the perfect way to combine his passion for music with his vast technical expertise and artistic skills. Before moving from his native Israel to California, he worked for many years in a variety of positions in the audio field. Trained in various forms of engineering, his first long-term gig in the U.S. was as a staff engineer (mixing, recording and mastering) for renowned producer Sylvia Massy Shivy at Radiostar Studios in Northern California.

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From Platinum to Indie Artists: In addition to his hands-on, highly personalized approach to working with artists and producers, Appelbaum draws on a broad scope of work with many international performers and a multitude of styles, territories and aesthetics to bring an objective, fresh perspective to each project. Over the years, he has mastered recordings for Yes, Faith No More, Limp Bizkit, Halford, William Shatner, Fates Warning, Walter Trout, Yngwie Malmsteen, Ill Nino, Eric Gales, Dokken, Nekromantix, Marco Mendoza, Lita Ford, Sepultura and Armored Saint. Appelbaum has also worked with top producers and mixers including Sylvia Massy, Mike Clink, Matt Wallace, Bob Horn, Ulrich Wild, Billy Sherwood, Toby Wright and Roy Z. In addition to these high profile names, Appelbaum has helped many up-and-coming independent artists who appreciate his attention to detail, approachability, ongoing communication about their projects and affordability. Appelbaum is open to attended or unattended sessions. State of the Art: Appelbaum’s studio is equipped with an expansive array of Analog Tube, Solid State, Digital External Processors and a powerful monitoring system to offer a wide range of highly detailed sonic possibilities—from lush and intimate tones to tight and punchy high impact sounds. As he colors and sculpts sounds in different ways, he also allows for great transparency. “I am committed to satisfying the client’s sonic needs,” he says. “I will go the extra mile to accomplish this. I’m there to help every project sound more convincing and inviting to the listener and bring them a better listening experience.” Contact Maor Appelbaum, 818-564-9276


January 2015

Darrell Webb

Mike Tunnicliffe

Guitar Center, a retailer of musical instruments and recording equipment, and its Board of Directors appointed Darrell Webb to be the company’s new President and Chief Executive Officer. In his new role, Webb will enhance Guitar Center’s customer experience and further bolster the company’s position as an omnichannel retailer. Webb has more than 30 years of experience in retailing and has led several multi-billion dollar retailers through periods of rapid growth. Previously Webb served as Chairman and CEO of the Sports Authority, Inc., Chairman, CEO and President of Jo-Ann Fabric & Craft Stores and spent 20 years with Fred Meyer, Inc. and Kroger Company. For further details, contact Christopher Bennett 805-358-8491.

Universal Music Group (UMG) promoted Mike Tunnicliffe to the newly created role of Executive Vice President, Business Development & Partnerships, U.S. He was previously the Chief Growth & Marketing Officer. Tunnicliffe will be based in New York and report to UMG’s Executive Vice President, U.S. Recorded Music, Michele Anthony. He will oversee new business activity for UMG related to brand partnerships, strategic marketing alliances and marketing programs for advertisers. He will work closely with Olivier Robert-Murphy, Global Head of New Business. Tunnicliffe joined GroupM in 2010 and led business development and revenue growth activities across the company’s agencies. Contact

Maureen Kenny

Jordan Blaugrund

Atlantic Records has named Maureen Kenny as Senior Vice President of A&R, based at the company’s Burbank office. Kenny comes to Atlantic from Republic Records, where she was most recently Vice President of A&R, working closely with artists such as Of Monsters and Men and Weezer. Over the past decade, she has signed and nurtured artists, A&R’d a string of records and spent time at Republic Records and Columbia Records, where she rose from A&R Manager to Senior Director, overseeing projects for MGMT, Metro Station, John Mayer, Pete Yorn and others. Kenny holds a B.A. degree from Boston University. For more information on this appointment, contact

RCA Records has promoted Jordan Blaugrund to Vice President, Digital Marketing. In his expanded role, Blaugrund will oversee all digital marketing initiatives and direct to consumer business for the label. Blaugrund will report to Tom Corson, President & COO, RCA Records and remain in the label’s New York headquarters. Blaugrund joined RCA in 2003 in the promotion department where he coordinated video and artist placements on the major video networks. In 2007 he transitioned to digital marketing where he oversaw digital campaigns for a diverse roster of developing and established artists including Justin Timberlake, Foo Fighters, Kelly Clarkson and more. Contact

Mike Miller

Frank Heinricht

President, CEO Guitar Center

Senior Vice President, A&R Atlantic Records

Studio Manager Hybrid Studios

Exec. VP, Business Development & Partnerships Universal Music Group

VP, Digital Marketing RCA Records

Chair, Supervisory Board Sennheiser

Hybrid Studios, a multimedia audio and visual production facility, has promoted Mike Miller to Studio Manager. Miller most recently served as the studio’s Operations Supervisor. As Studio Manager, Miller will be responsible for ensuring fluid and profitable operation of the facility; hiring engineers, crews and other technical staff; working with production teams and artists; selecting and purchasing new equipment, ordering repairs and establishing a regular equipment maintenance schedule and much more. For his new role, Miller brings management experience, as well as his exceptional performance as the studio’s Operations Supervisor. Contact dsolich@

Sennheiser, a manufacturer of microphones, headphones and wireless transmission systems, has promoted Dr. Frank Heinricht to the Chair of the Supervisory Board of Sennheiser Electronic GmbH & Co. KG to, effective Jan. 1, 2015. He received his role from Prof. Dr. Jörg Sennheiser. Heinricht was Chairman of the Board of Management of Schott AG since 2013 and became a member of the supervisory board of Sennheiser electronic GmbH & Co. KG five years ago. In his new role, he brings his profound technical expertise and experience in managing large family-owned companies. For more details on this appointment, contact

Michael Amkreutz

Siri Svay

Guitar Center named Michael Amkreutz Executive Vice President, Marketing, Merchandising and E-Commerce. Amkreutz will be responsible for all aspects of Guitar Center’s product assortment, in-store merchandising, marketing campaigns and e-commerce strategy. Amkreutz joins Guitar Center from Systemax North American Technologies, where he was Chief Marketing Officer. He has expertise in marketing, merchandising and technology, that developed over the years at companies such as Sears, Newegg, Hannspree North America and Sharp Electronics. Contact Clyne Media, Inc. 615-662-1616.

Music Connection has promoted Siri Svay to Associate Editor. In 2012, Svay joined Music Connection as an Intern and most recently served as Social Media Manager starting in 2013. In her new role, Svay will be working with the MC team to manage the magazine’s website, create and send weekly newsletters and edit the magazine. She will also work closely with the Senior Editor, Associate Publisher Mark Nardone and Publisher, General Manager and Advertising Director Eric Bettelli. Svay graduated with a B.S. degree from the University of Texas at Austin. For more information, contact Siri directly at

Executive VP, Marketing, Merchandising, E-Commerce Guitar Center

Associate Editor Music Connection

January 2015



SOLID STATE LOGIC XL DESK SSL's XL Desk is an all-analog console that has 18 slots for 500 Series modules and eight VHD™ microphone pre-amps in the first eight channels. You get 40 inputs of SuperAnalogue™ summing (16 main faders + 16 Cue inputs + 4 Stereo channels) and SSL's Stereo bus compressor. There are four stereo mix buses, a monitoring and talkback section and all the professional connection and routing options expected from SSL. Specifically designed for DAW-centric studios, there is no integrated DAW control and fader level automation, but the XL Desk has 16 dual input mono channel strips switchable between main inputs or DAW returns, and also four stereo channels. There are four main Mix Buses (A, B, C, and D) and buses and channels each have a separate insert points for other processing and/or connection to patch bays. The desk from SSL will sell for $19,999 and will star in many project/home studios very soon.

FISHMAN PLATINUM ANALOG ACOUSTIC PRE-AMPS Fishman's new Platinum Pro EQ and Platinum Stage acoustic preamps are completely redesigned for the pristine and accurate reproduction of any acoustic instrument. They use an all-discrete, high-headroom circuit for the highest fidelity and lowest distortion. You get the classic Fishman tone with sweep-able mid-range combined with a switchable guitar/bass EQ mode that broadens the pre-amp's usefulness to work for upright basses or large body acoustics. The new Platinum preamps have adjustable volume boost and balanced XLR direct outputs and are housed in tough, road-ready boxes. The Platinum Pro EQ is built with durable foot switches that activate either the volume boost or an easy-to-read high-contrast chromatic tuner. It also includes a simple and effective analog soft-knee compressor, effect loop and adjustable notch filter. Platinum Stage is for mobile instrumentalists such as mandolin and fiddle players with its included wearable belt-clip that provides instant access to the controls. The Fishman Platinum Pro sells for $384.54 MSRP and the Platinum Stage is $184.54 MSRP.

EVENTIDE ULTRAREVERB Eventide's UltraReverb™ plug-in features 9 Reverbs including Ambience, Rooms, Plates, Halls, Chambers derived from the H8000 Ultra-Harmonizer® but also adds compression (with side-chain input), four independent equalizer sections, Lo-fi bit-rate reduction, reverb modulation control and delay sections to make a very comprehensive reverb/ambience/special effect design system. UltraReverb is compatible with AU, VST, or AAX64 for Mac or Windows and is packed with over 300 very useable presets to get you going. I've been working on a Pop music mix project and I used UltraReverb to develop signature vocal and drum reverb sounds unique to this artist and project. I like that UltraReverb starts with great sounding reverb algorithms, that tweaking them into perfection is easy. Plus having a compressor available right in the chain is big for me nowadays. UltraReverb sells for $199 (download).

LYNX STUDIO TECHNOLOGY E44 AND E22 PCIE CARDS Both the E44 and E22 are versions of LynxTWO I/O PCI cards built on PCIe cards—the newer slot standard for internal processing cards. The E44 has 4-channels of analog I/O and four AES/EBU channels and could be used in a free PCIe slot for expanding the I/O of an existing LynxTWO-A PCI card. The E22 is essentially the PCIe equivalent of the L22 PCI Card with two analog input and output channels and two AES/EBU channels. A new software mixer will be available for these new Lynx Studio Technology products. Built upon the legacy of the industry-leading LynxONE and LynxTWO cards, the E series are high performance A/D and D/A converters that open up the Lynx systems to newer computers with only PCIe slots. Prices are: E44 at $1,095 MSRP and the E22 at $795.

10 January 2015

Which Scarlett is for you?

Duo / Trio



You want to record a small group of musicians, for

Your band needs an interface that is both portable

You are very proud of your home studio and you

example a keyboard player and two vocalists. So,

and expandable. You want to record up to 4 mics

love recording bands. You want a high quality,

you need a durable, portable device that is capable

for, say, an acoustic set (e.g. guitar, keys, vocalist,

reliable, and rack-mountable audio interface that

of recording up to 4 simultaneous analog inputs and

and percussion) and independent headphone

can record up to 8 mics at the same time. You need

also has 4 audio outputs for monitors or additional

outputs for different monitor mixes.

multiple outputs for headphone cue mixes and main

cue mixes. The Scarlett 6i6 is for you.

The Scarlett 18i8 is for you.

monitors. The Scarlett 18i20 is for you.

Use the 2 mic pre amps on the front to record the

For larger ensembles, take advantage of Scarlett

For even larger ensembles take advantage of

vocalists and use its line inputs on the back to

18i8’s ADAT input and track up to 16 analog

Scarlett 18i20’s ADAT input and track up to 16

record the output of the keyboard.

inputs. (e.g. Focusrite OctoPre MkII)

analog inputs. (e.g. Focusrite OctoPre MkII)

4 2 Focusrite Mic Pres

4 4 Focusrite Mic Pres

4 8 Focusrite Mic Pres

4 2 mic/line/instrument combination inputs

4 2 mic/line/instrument combination inputs

4 2 mic/line/instrument combination inputs

4 2 headphone amps, 4 line outputs

4 2 mic/line combination inputs

4 6 mic/line combination inputs

4 Stereo line inputs

4 2 headphone amps, 2 line outputs

4 10 line outputs, 2 headphone amps


4 4 line inputs, MIDI and S/PDIF I/O


4 ADAT Input

4 Word Clock Output

Whatever your audio recording needs, there’s a Focusrite Scarlett interface for you. All you have to do is choose. Check out the full Scarlett Range at:


PRESONUS AUDIOBOX IONE AND AUDIOBOX ITWO USB INTERFACES The PreSonus AudioBox™ iOne ($129 MAP) and AudioBox iTwo ($159 MAP) are USB bus-powered audio/MIDI interfaces for Mac®, Windows® and Apple's iPad using an attendant USB power supply. Both feature metal chassis and control knobs. The AudioBox iOne has separate XLR microphone input and ¼-inch instrument jacks, while AudioBox iTwo offers two combo mic and switchable line/instrument inputs. Both feature high-performance class-A mic preamplifiers with phantom power, 24-bit/96 kHz converters, a pair of balanced ¼-inch line outputs plus a separate headphone output jack and level control. The AudioBox iTwo adds MIDI In/Out jacks and both interfaces have an internal analog mixer with zero-latency monitoring that works with any recording software that supports Core Audio (Mac) or ASIO (Windows). I tried my AudioBox iTwo with Pro Tools HD 11.2.1 running on my Mac and found it to be superior in all ways to the other small interface I had been using. These rugged PreSonus USB interfaces come with Studio One® Artist DAW software for Mac and Windows, and download links to new Capture™ Duo recording software for iPad.

BLACKBIRD CLARA UKULELE The Blackbird's Clara ukulele's body uses a flax linen composite material with bio-resin called Ekoa flax—a unique, plant-based 'tone' material. Sustainable, renewable and lighter than carbon fiber, Ekoa flax fabric has high strength, stiffness and vibration dampening properties. So it combines the tone of vintage wood with superior responsiveness, stability and strength. This combo makes for a unique sonic presence with good travel durability with none of the humidity and temperature issues that normally wreck havoc on wood instruments. Building on the success of carbon-fiber acoustic guitars and ukuleles developed over the past decade, Blackbird dedicated several years of research and development to incorporating these low-density eco-materials into their proprietary hollow-neck unibody acoustic construction. Clara is the loudest concert ukulele with the widest frequency range available yet compact enough to fit in a backpack. Blackbird Clara starts at $1,150 with optional battery-free electronics.

KORG AUDIOGATE DS-DAC AUDIO PLAYBACK SYSTEM Korg's AudioGate DS-DAC USB audio playback system consists of Korg's AudioGate 3 playback software and a choice of either the sleek desktop DS-DAC-100 or DS-DAC-100m mobile interfaces. Both are USB digitalto-analog converters that allow either Windows (ASIO) or Mac (Core Audio) users to playback 1-bit DSD 2.8 MHz or 5.6 MHz audio files. The little DS-DAC-100m has a 1/8-inch headphone jack that'll drive any set of headphones. The futuristic-looking DS-DAC-100 has both RCA and balanced XLR output jacks for connection to your stereo gear or pro studio rig respectively. Korg's AudioGate 3 audio playback and audio format conversion software allows sample rates ranging from 44.1 to 192 kHz for PCM and both 2.8224 MHz and 5.6448 MHz 1-bit. You can play back existing audio from CDs, downloads or other sources as high-quality DSD audio that sounds better than audio from standard computer DACs. The Korg DS-DAC-100 and DS-DAC-100m sell for $599.99 and $349.99 respectively.

BBE SOUND MP24M DIGITAL MIXER The BBE MP24M Digital Mixer is the only digital mixing system available with BBE® Sonic Maximizer® processing. The MP24M has: 24 MASS® class-A, twin servo microphone preamps; two aux stereo line inputs; eight aux sends and four sub groups. There is extensive DSP onboard processing including 14 31-band graphic EQs. The input channels have 100mm faders and feature compressor, gate, high and low pass filters, four-band parametric EQ, polarity reverse, and channel delay. The BBE MP24M uses 24-bit/48 kHz A/D/D/A conversion, 32-bit floating-point SHARC DSP processors that lets you save effect and channel DSP presets. There is the ability to archive up to 100 snapshots of the entire console as individual presets via its Load/Save/Copy function. For control, there is a built-in seven-inch color display plus you can mix remotely using a PC or an iDevice. The console also has a fully assignable talkback mic input and the ability to stream stereo audio over a 2.4GHz wireless connection. The BBE Sound MP24M comes in a rugged, cartage case and sells for $1,999.99 MAP. 12 January 2015

BARRY RUDOLPH is a recording engineer/mixer who has worked on over 30 gold and platinum records. He has recorded and/or mixed Lynyrd Skynyrd, Hall & Oates, Pat Benatar, Rod Stewart, the Corrs, and more. Barry has his own futuristic music mixing facility and loves teaching audio engineering at Musician’s Institute, Hollywood, CA. He is a lifetime Grammy-voting member of NARAS and a contributing editor for Mix Magazine.


IN TONE For the bulk of his 2014 tour with the Winery Dogs and his recent solo tour, Richie Kotzen was spotted using a mysterious red pedal by Tech 21. Countless photos and questions were posted on the internet by fans craving to know more. A gifted player known for his unique style, Richie is also highly respected for his tone, so who could blame them? .OT JUST ANOTHER VERSION OF THE &LY 2IG  SIMPLY BEARING HIS NAME







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BOOK S T ORE Complete Acoustic Guitar Method Books By Alfred Music Publishing (paperback) $24.99 Alfred has released second editions of the widely popular Complete Acoustic Guitar Method available for beginning, intermediate and advanced guitarists. Perfect for those who want to master their craft, these books are packed with essential information organized in easy-to-master sections. These new editions have been revised to include new examples in the styles of the hottest acoustic guitar players on the current scene and brand new videos demonstrating the examples in the books.

From Beat Happening and Pell Mell to early records by the Beastie Boys, Metallica and Run DMC, Sub Pop was a 1980s independent music bible, a fanzine written with a diverse appreciation for happening scenes across the USA. In 1986, author Pavitt put his ideas into practice, launching Sub Pop Records with the historic Sub Pop 100 compilation and Soundgarden’s first release. While the Sub Pop Records legacy is today legendary, the groundwork and creative wellspring that put Seattle on the musical map is assembled here for the first time.

No Simple Highway—A Cultural History of the Grateful Dead By Peter Richardson (hardcover) $26.99


14 January 2015

By Thomas Rudolph and Vincent Leonard (paperback) $19.99 Rudolph and Thomas focus on the iPad’s connectivity to the professional, project and home music studios, guiding you step by step through the most popular and productive apps for the iPad 2, third—or fourth—generation iPad, or iPad mini, running the latest versions of the iOS. Written by two experienced authors of music technology textbooks, training and courses, The iPad in the Music Studio provides guidance on the best apps for music and how to apply them in your musical life.

The Jesus and Mary Chain: Wire Kisses SUB POP USA: The Subterranean Barbed By Zoe Howe Pop Music Anthology, (hardcover) $26.99 1980-1988 Starting in the bleak town of East Kilbride, near By Bruce Pavitt (paperback) $24.95

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The iPad in the Music Studio

On the 50th anniversary of the band’s creation, Richardson’s book delineates why the Grateful Dead became a legendary band. It is a vivid account of the Dead’s colorful history based on new research, interviews and material from the Dead archives, giving us new insight into everything from acid tests to the band’s formation of their own record label to their massive late career success, while probing the riddle of the Dead’s vast and durable appeal.

Glasgow, at the dawn of the 1980s, Howe’s book follows two chronically shy brothers, James and William Reid, and traces their emergence from a shared bedroom to unleash their seminal debut album, Psychocandy, making a huge impact on the rock music world. Howe charts the brothers’ stormy live performances, signing to Creation, fraternal tensions that rival those of the Gallaghers and, ultimately, their total selfbelief and passion.

The Strat in the Attic 2: More Thrilling Stories of Guitar Archaeology By Deke Dickerson (hardcover) $25.00 Musician, journalist and “guitarchaeologist” Dickerson is back with more stories of rare guitar finds and the music legends who owned them. This time you learn about a 1966 Hallmark Swept-Wing, a Bob Wills and the Texas Playboys original 1940’s Epiphone Emperor archtop, a Stromberg Master 400 archtop owned by Nat “King” Cole Trio guitarist Oscar Moore, a Merle Travis 1953 Standel amp and more. Photos of the guitars and other memorabilia round out the package. Recommended reading for any vintage-guitar aficionado.

January 2015




Celebrating 17 Years in SoCal and Beyond: Closing in on 17 years since opening their flagship Southern California location on Robertson Blvd. in Culver City, Joe and Jamie DeAngelis are as committed as ever to ensuring that their hourly and daily rehearsal and monthly lockout studios live up to the name Musicians Choice. Offering a variety of great sounding rooms of various sizes—from 140 square foot drum kit spaces to 2000 square foot lockout spaces with private bathroom and shower—to accommodate all kinds of bands/ artists and rates to fit every budget, their air conditioned studios offer a professional and comfortable creative atmosphere. Hourly rooms come equipped with mics and stands, PA, guitar and bass rigs, 2x12 combo amp and drums and cymbals. Their newest locations are Carson, LAX and North Hollywood. The three with hourly lockouts are Culver City, Lawndale and Tempe, AZ.

From Indie Upstarts to Platinum Artists: From the beginning, Musicians Choice’s overriding philosophy has been “Built By Musicians for Musicians.” Both Joe and Jamie have been in bands their whole lives and regularly practice in the rooms they own. While their bread and butter has always been up and coming bands, the facility boasts an exciting superstar clientele as well. In addition to Red Hot Chili Peppers, L.A. Guns, Fishbone, Pennywise, Concrete Blonde, Motorhead and Stone Temple Pilots, recent clients include the Sick Puppies, George Clinton, Blink-182, Otep, Keith Emerson, Social D, the Ruse, Joan Jett and J4. Friendly Staff and Custom Rooms: “Our plan has always been to run a successful company, provide whatever musicians need and ensure that we and our staff provide them top-notch customer service, provided by our dedicated and knowledgeable staff members,” Jamie says. “Many of our staff members have been with us 15 years, and all of them are musicians themselves. Nothing makes us happier than being able to provide a place for musicians to chase their dreams.” To better serve their clients, the brothers have also developed a solid reputation for creating custom rooms for bands in need of long-term lockouts. Contact Musicians Choice, 310-836-8998

16 January 2015

Advanced audio waveform editing Sound Forge 2 Sound Forgeâ&#x201E;˘ 2 is perfect for recording, editing, processing, and rendering high-resolution, broadcast-quality audio master files. Gain fast access to easy audio recording, deep editing tools, 64-bit AU and VST plug-in compatibility with automation, and the audio hardware routing functionality that Sound Forge users expect. The world-class Sound Forge experience is completely at home in its second generation on the Mac, and Mac App Store convenience makes downloading and installing Sound Forge 2 a snap.

Sound Forge power, Mac App Store convenience

Copyright Š2014. Sony Creative Software Inc. All rights reserved. All other trademarks are trademarks of their respective owners. All screen images simulated.

January 2015


Wynn Studio Focuses on EDM Luca Pretolesi (pictured) and partner Ronnie Lee of mixing, mastering and studio design company Studio DMI (Study of Digital Music Innovation), rely on a Solid State Logic Matrix Console/Controller to deliver EDM heat for the company’s development project at Las Vegas’ Wynn Studio. The luxury hotel complex is home to a literal who’s who of A-list DJs performing in its suite of world-class clubs and at Wynn Studio.

Stewart Honored By Music Producers Guild



Multimedia entrepreneur Dave Stewart has been named by the Music Producers Guild as the 2015 recipient of its Outstanding Contribution to U.K. Music Award, sponsored by PPL. The award will be presented to Stewart at the MPG 2015 Awards, which take place Feb. 12 at the Park Plaza Riverbank Hotel in London. Visit

The Recording Academy P&E Wing Renews Partnership With Iron Mountain The Recording Academy Producers & Engineers Wing has renewed its partnership with Iron Mountain Incorporated (NYSE: IRM) Entertainment Services. As an official P&E Wing partner, Iron Mountain provides title sponsorship of regional Recording Academy Chapter professional development events and serves as a sustaining member of the P&E Wing Manufacturer’s Council. Pictured (l-r): SVP of Iron Mountain Entertainment Services Jeff Anthony; P&E Wing Managing Director Maureen Droney; and Project Manager Iron Mountain Film & Sound Archives Barry Cardinael.

30 Years Of Collective Playing Experience Hit Studio Austin-based teen band Charlie Belle are set to release their debut EP, Get to Know, on Jan. 13. Teaming with the band in Austin, TX was James Stevens at East Austin Recording Studio (EAR). Pictured (l-r): Zoe Czarnecki, Jendayi Bonds and Gyasi Bonds. More details can be found at

Producer Playback “Nothing’s going to be given to you in any way. If you keep trying you get better, eventually you’ll do something great. Don’t be satisfied if something is just okay.” – Jeff Bhasker (Taylor Swift, Bruno Mars, Beyonce). Interviewed Feb. 2014

18 18

January 2015


Victory Records’ Newest Recruits Track In Hollywood Newly signed Victory Records band Broadside wrapped up in the studio recording their debut album Old Bones in Los Angeles, CA with producer Kyle Black and engineer Devon Corey. The band also worked with Courtney Ballard at the Madden Brothers Studio in Hollywood. Pictured (l-r): Ollie Bierman, vocalist; Dorian Cooke, rhythm guitar; Niles Gibbs, lead guitar; Kyle Black, producer; Andrew Dunton, drums; Devon Corey, engineer; Josh Glupker, bass.

Windmark: Striving For A Home Environment The Los Angeles-based Windmark Recording is the brainchild of musician and former Flock of Seagulls drummer Michael Marquart and his daughter, Studio Manager Samantha Marquart. The studio has hosted artists like Coldplay, Jeezy, J. Cole, Mariah Carey, Ariana Grande and more. With six studios, including the recently opening premiere room, Studio F (windmarkrecording. com/#!studiof/c1hfg), Windmark creates a home environment for artists, fusing state-of-the-art equipment and classic vintage equipment (like one of only 4 Neve Consoles ever built) with a comfortable environment that aims to breed creativity.

Houghton College Offers New Music Industry Major The Greatbatch School of Music, Houghton College, will be offering a new Music Industry major offered as a Bachelor of Science degree beginning fall 2015. The new major will focus on music technology and production, music business, recording and broadcast engineering, and much more. Classes such as Introduction to Pro Tools and Pro Tools Production 1 will give the students hands-on experience with Avid Pro Tools and enable them to acquire Pro Tools certification after taking the courses. Contact for further details.

Prism Sound’s Lyra 2 Makes Its Las Vegas Debut Studio DMI, a private facility that focuses on mixing and mastering electronic music in the Las Vegas, NV area, has incorporated a range of Prism Sound equipment, including a Lyra 2 audio interface that is being used to record mixes and A/B two different sound sources. DMI is owned by European Music Market Inc. For more info, contact




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19 19




Papa Roach, Motionless in White, Pierce The Veil

By Rob Putnam


ong Island-based producer and engineer Dan Korneff got his start as a drummer. After recording a demo with his band, he realized that he might be better suited for production. Although largely self-taught, after high school he enrolled in Five Towns College, where he learned the science behind sound. He’s since produced and engineered for bands including My Chemical Romance, Papa Roach and Paramore. At the start of a new project, typically he sits with a band and they listen to demos. Together they set goals for the record and identify influences, among other things. “Once we get the demos arranged, we’ll go into preproduction,” Korneff explains. “Then we go into tracking. I own a studio called Sonic Debris, which is where I do most of my work.” Korneff concedes that technology can be a mixed blessing. “There’s The three most important always something that breaks at the things he’s learned as a wrong time,” he observes. “I recall producer are: once when I was engineering a Paramore record. We’d completed s You have to know your tech tracking and I was doing a backup stuff. As a producer, your job when we had complete system failure. is to interact with people and The motherboard had blown up; one create music, so the tech end of the caps had burst. I stayed up all has to happen naturally. night trying to solve the issue. By the s Make suggestions in delicate time I figured it out, it was nine in the ways that won’t upset people. morning. I had to replace it before the You have to massage certain band got back later that day. Luckily, situations. none of the work was lost.” s Listen to what’s happening. To Korneff, having so many Don’t spend all of your time artificial sounds causes engineers looking at a computer screen. and musicians to lose sight of music’s s Use your ears and pay true value. “I was brought up on tape,” attention. he explains. “I started with a linear recording process of start to finish, which made me focus on getting proper takes. Kids these days miss out on that aspect. It’s all fake. Trying to understand what music actually is might be their biggest challenge.” Aside from his SSL G-Series console, one of his favorite pieces of studio gear is a vintage Roger Mayer RM 58 Studio Compressor. “It’s very rare and has a super unique sound,” the producer says. “I love that thing. And for rock, it’s hard to beat a Marshall-cranked Les Paul. But technically speaking, they’re really hard to keep in tune with the old wood in the neck. I’m also a fan of taking a cheap guitar, ripping out the electronics and putting in new stuff. It sounds awesome.” The business of production is constantly changing. Accordingly, Korneff cautions newcomers to be positive that they’ve made the right career choice. “Be sure that you really want to do this,” he advises. “One day you’ll get your wish and you’ll spend 18 hours [a day] in the studio.” Recently he completed production on (Fearless Records) Motionless in White’s Reincarnate. When Music Connection spoke with him, he was completing work in the studio with Pierce The Veil, another Fearlesssigned band. What are his feelings about rock music’s future? “We’re in a spot where it’s hard to find interesting new things,” he asserts. “I think [rock] will be around for a while. We just have to have someone take a chance and do something different. No one’s quite created a new genre yet.” Contact Dan Petel / This is Noise Management,

20 January 2015

January 2015 21


Adam Alpert

publisher. Being signed to all three is most beneficial [to an artist], not only financially but also having a full-service team working toward the same goals. The departments of different companies need to be working together, on the same timeline, not the promotions department doing their thing and the PR department doing their thing without the same strategy or agenda in mind.

CEO/President Disruptor Management and Records/ Selector Songs Years with Company: 3 months Web:;; Email: Clients: the Chainsmokers BACKGROUND In January 2014, electronic duo the Chainsmokers’ hit song, “#SELFIE,” was released by Dim Mak Records and became a runaway success. It was the culmination of a project they and their manager, Adam Alpert, had been nurturing for two years. Recently, in combination with his newly minted publishing company, Selector Songs, the man behind Disruptor Management launched a companion label, making the NYC-based act his first signing.

“At the end of the day, I don’t work with artists who don’t do this for the fans and love of the craft. I’m a firm believer in being on the same level as the fan.”

Nightlife After I graduated from the University of Pennsylvania, I went home to New York City and became entranced with the hospitality industry, specifically restaurants and nightclubs. I started as a nightclub promoter, with hopes I would get my foot in the door with different restaurant and nightclub operators. After a short time, I started working for one of the larger groups, Butter Hospitality Group. I was director of marketing and promotions for about eight years and helped launch the 1Oak nightclub brand.

Rise of the DJ While I was there, I noticed the rise in popularity and importance of the DJ. People started caring more about who was DJing rather than where they were going or who else was going. As social media was becoming more prevalent, I witnessed DJs becoming very famous. Electronic music was making its way to America in a mainstream way. At the time, I had DJs working at our venues that I thought were the best in the country, but they weren’t properly managed. I knew that if I got these guys organized and I utilized the relationships I developed in the nightclub world, I could help build their careers, which led to the start of a DJ management company in 2010 with ten high-end DJs. Smokin’ Four years later, I signed DJ Alix Pall, who produced dance music and was looking for a partner to duo with. Someone introduced me to Drew Taggart, a recent college graduate, so I introduced them to each other and the Chainsmokers were born. It became a passion project for me, working with these producer/DJs and helping develop their careers: putting out music, building a brand and acquiring a fan base. One day, they told me they made a funny song called “#SELFIE,” which got picked up by an indie label [Dim Mak]. Then they were courted by major labels and eventually signed with Republic Records. Afterwards, they were courted by major publishing companies. We did a deal with Sony/ATV Publishing and I learned the inner workings of the people at the major labels. Then an idea struck me: if I could have my own label 22 January 2015

and publishing company, I would be able to streamline the goals of artists into one unified strategy. I had befriended Doug Morris at Sony and Martin Bandier at Sony/ATV, so I pitched them my idea. They thought it was very forward thinking and did joint ventures with me. So here I am. Backbone Dance and pop music will be the backbone [of the label], but we’re definitely not limiting ourselves to that. I have two [employees], but the resources and departments I use are those of Sony and Sony/ATV. In my direct Disruptor/Selector Publishing team, there are three of us, but I have a marketing department, accounting, legal, promotions and Sony as the associated label. Coming Soon I have artists I’m already in the process of signing. I find them through my own research, scouting and discovery, referral, submissions or other artists collaborating with them. I listen to everything I’m sent. There’s always that needle in a haystack that’s amazing and you don’t want to miss it. I seek people who are trying to do things a bit differently. Every day people send me progressive house festival-style tracks that are one and the same. They’re not pushing the envelope. The top one-hundred DJ producers in the world already have that covered. So [I want] styles of music incorporating different influences, new sounds, world sounds, just something trying to be different. That’s what we try to do with the way we brand ourselves, engage with our fans, market ourselves and the concepts we deliver. Power in Unity [I offer] management contracts, record deals and publishing deals or combinations of the three. You’ll get a more favorable record deal if I’m your manager or you’ll get a more favorable management deal if I am also your label and

On the (Fan) Level A few key things have worked for us in the past. It’s consistent delivery of content. It’s direct artist to fan communication, staying on the level of the fan and becoming a peer. Engaging them in the process of making music and a musician’s lifestyle so they really feel they’re part of it and not just watching it or buying it. At the end of the day, I don’t work with artists who don’t do this for the fans and love of the craft. I’m a firm believer in being on the same level as the fan and not trying to be idolized.

Get Fans, Then Let Them Build Buzz [Artists should] build their fan bases and put out content online to get noticed. Don’t be worried about finding a label. [Artists] need to draw in fans and encourage those fans to spread the word for them. The EDM Manager The EDM fan consumes music and content faster than other genres, and they attend more shows. Most DJs are always touring, so you’re constantly dealing with shows. With your artists flying all over the world, you have to make time for them being in the studio and other responsibilities. Behind-the-Scenes The main thing that’s hard to see from an outsider’s perspective is how much [effort] goes into a song before it comes out. From the people involved in making, fine-tuning and polishing [a song] and getting it to a place where everyone’s happy. The public only hears the finished product and don’t know that song has been in the works for years before it ever hits their ears. For the Love of Electronic Dance Music I could never work in a genre that I didn’t love, so it felt good that I ended up working in EDM. EDM is going to evolve into more of a live performance. You’re going to start seeing DJs perform with musicians and singers more and feature artists on songs then touring with them. They’ll continue to give audiences more for their money. Work Hard at What You Love Before the unexpected “#SELFIE” explosion, we worked 24 hours a day, seven days a week, for a year building and working on the Chainsmokers. We put everything—blood, sweat and tears—into it. And yeah, we did luck out, but we were building a brand that was on its way to being big with or without “#SELFIE.” We felt blessed that song took off, but it was hard work that paid off. Work as hard as you can, and it won’t feel like work; it will be enjoyable. And as each good thing happens, you’ll feel rewarded from that.


OPPS Indie104/iRadioLA, a popular Internet radio destination for DIY artists, is now inviting independent artists to submit their music for broadcast on its Indie Artist Spotlight Series. There is no charge for submitting. According to their site: “We are seeking high quality, well mixed/ mastered music of any genre. Explicit music or music recorded unprofessionally will not be accepted.” For complete details about this opportunity, go to Fabrizio Talent Agency is currently accepting music submissions for its upcoming artists development program. The program’s goal is to develop and improve the skills of the qualified artists, and then introduce them to producers and labels that can fit theirs needs. Each applicant should provide valid information and a track of their achievements, including their three best records and what should be unreleased. The submission deadline for artists development program of new artist is Jan. 20, 2015. Applications and complete list of guidelines will be available by visiting ArtistDevelopment. Music industry veteran R. Wayne Martin has launched Martin Artist Management, and is seeking acts for its roster. An independent boutique management firm founded by 30-year music industry veteran Martin, it officially launched with the signing of its first two acts: New York rock band Wake The Sun and U.K. singer/songwriter James Edgar. The firm will represent clients in all aspects of their careers, including artist

A BASTILLE KIND OF YEAR Breakout British band Bastille has been honored with a Grammy nomination for Best New Artist. Their first single, “Pompeii,” has been certified 4x platinum and named No. 1 on multiple music charts. The band appeared on Dick Clark’s New Year’s Rockin’ Eve with Ryan Seacrest 2015—aired worldwide on Dec. 31, 2014— to cap off a year that began with their Saturday Night Live debut. Pictured (l-r): Will Farquarson, Chris “Woody” Wood, Dan Smith and Kyle Simmons. Contact Ambrosia. for more information.

development, fan base cultivation and growth and the exploitation of intellectual properties—all while establishing the relationships required in today’s music market. Martin is uniquely suited for artist management, having spent significant time in various sectors of the industry and developing a wide-ranging set of skills in the process. He began his career in marketing at CBS Records/ Sony Music, promoting diverse artists in pop, rock and country genres while consistently moving from one area of discipline to another. To find out more, go to Mascot Label Group (MLG) and ADA, the independent services arm of Warner Music Group (WMG), have announced a new distribution partnership for North America. This move brings MLG into a worldwide digital distribution deal with the company, alongside a partnership in the physical retail space across most of the globe. Mascot Label Group Founder and Chairman Ed Van Zijl states, “I am over the moon with ADA becoming an ever growing part of our distribution network. I can see us working together for a long time, as we can further exploit our repertoire and focus on bringing the best we can.” Mascot Label Group President, North America, Ron Burman offers, “We’re always on the lookout for great new talent.” As such, if you think you suit their variety of genrerosters, check them out at usa. The New York Rock Exchange (NYRE) is allowing fans to own a “share” of songs. The company previously released Songshares for a wide array of artists, from British Invasion band the Zombies to country

MUSIC BIZ STUDENTS HOST BENEFIT AT INFAMOUS VENUE Music Business Entrepreneur students from the Musicians Institute hosted a benefit concert for “California Pit Bull Rescue” at the infamous Rainbow Bar & Grill in Hollywood, CA. Party Animalz also came onboard as a raffle sponsor with “heavy metal” clothing for dogs. The event was planned and produced by the students (with an MI instructor/advisor) for a “Showcase Promotions” class. Project Steiger, led by Ken Steiger (MI instructor and guitar coach for the stars) headlined the show, with a lineup that included Dankrupt, the Velvet Tea Party and Obsidian Silence, as well as an appearance by Playboy Cyber Girl, Luna Sauvage. Go to (Music Business Program),, and for additional information. music star Rodney Atkins. To date, Songshares have been sold to fans in all 50 U.S. states, as well as nearly 20 other countries, worldwide. NYRE gives fans an exciting new way to own songs, connect with their favorite artists and be a part of the music they love. The deals offer artists a powerful way to interact with their fans and monetize their careers. Check out what Songshares are available at imc. Prices start at $20, and there are a maximum of 100 shares available for each song.

,!"%,3s2%,%!3%3 SIGNINGS The Smashing Pumpkins are set to release two new LPs in 2015. The band is also launching a new website to “better address the speed of modern life.” As such, they have launched a brand new website called the Panopticon. There, the band has shared news of two new albums, which they’ll release in 2015 through BMG. They’re titled Monuments to An Elegy and Day for Night. Per the post, the records will be produced by Howard Willing (who worked with the band on 1998’s Adore). “For those interested in sound, think: ‘guitars, guitars, guitars, and more guitars’; but more so on the epic side of things than say, grossly metallic,” the band’s leader Billy Corgan reports via the site. The new site will present continuing features, with items regarding each day’s recording shared that same evening,

with song titles, lyrics, poetic impressions, pictures, sound clips, studio gear and the like offered for a circuitous, bird’s eye view of the process as it unfolds. Go to Neil Young’s latest studio album, entitled Storytone and released via Reprise Records, is different from anything else he has ever done. The album has 10 brand new compositions recorded live in the studio with a 92-piece orchestra, choir and Young. He took a unique approach with this record, first recording the songs on his own in a solo setting, then creating compelling versions of the songs in a new light with an orchestra and big band, resulting in an emotional, deeply personal listening experience. All of the music was produced by the Volume Dealers (Neil Young and Niko Bolas), recorded and mixed by Al Schmitt with additional co-production, arrangements, orchestration and conducted by Michael Bearden and Chris Walden. Go to neilyoung. to learn more. Montrose Records has announced the signing of blues singer/guitarist Brad Absher and an upcoming Jan. 13 release date for his label debut, Lucky Dog. The new album was recorded at Montrose Records Studio in Houston and produced by label head Richard Cagle and acclaimed bassist Larry Fulcher (Taj Mahal), who also adds his trademark bass lines throughout the disc. The rest January 2015



of the musicians involved in the recording are primarily members of Absher’s solid touring band, rightly dubbed “Swamp Royale” for the earthy, soulful sounds they create around Absher’s masterful guitar work and vocals. Absher’s Gulf Coast sound recipe includes equal amounts of blues, soul and gospel, stirred up into a magical gumbo that goes down easy and has a spicy kick to it, recalling the best of Memphis and Muscle Shoals. Visit for additional information. Critically acclaimed rock band and touring powerhouse Grace Potter & the Nocturnals have announced the launch of Vaulturnal. The new website will offer fans fully mixed and mastered soundboard recordings of live performances from the band’s ever-growing live archives. Initially, GPN plans to release several shows per year as highquality digital downloads and on compact disc. Potter notes, “We’ve been talking for a long time about launching a live site for fans to access our music, and we have a fan base that really does feed off the live-music experience,” thus her band’s motivation for undertaking this project. GPN drummer and co-founder Matt Burr added, “We’re excited to handpick shows that we’re really passionate about and get them out there.” The flagship release, now available at, documents the

band’s show at the Koussevitsky Music Shed in the famed Tanglewood Music Center in Lenox, MA. For timely Opportunities and news, be sure to check out MC’s home page each day at!


Meghan Trainor has shocked the music world again…. The International Acoustic Music Awards (IAMA) announced that Trainor, the former winner of their competition, has been nominated for Grammy Awards “Record of the Year” and “Song of the Year.” Trainor hit No. 1 on the Billboard Hot 100 Charts for nine weeks, making it the biggest hit of the year by a female artist, beating out some of the biggest names in music today, including Taylor Swift, Nicki Minaj, etc. Additionally, she is also No. 13—with a bullet—on the Billboard Hot 100 Charts (at press time) with “Lips Are Movin’.” She has also been nominated for “Best New Artist” by the American Music Awards. Learn more about her at, and This year marks Warp Records’ 25th Anniversary. After two and a half decades, the label is still releasing innovative, inspiring and acclaimed music. 2014 marked a year of surprising triumphant returns from established artists

DIY Spotlight STASH Why should male electro-pop duos have all the fun? That’s what Steph Prost, the DJ/rapper/songwriter behind the two-girl outfit STASH, thought when she heard LMFAO’s “Party Rock Anthem” and saw them become EDM sensations. That vision, along with a relentless DIY work ethic, and infectious music scored the indie duo a deal with Central Entertainment Group (CEG) in December 2014. A master at creating fresh mash-ups, Prost built her rep producing and DJing for exclusive events ranging from big-time film premieres to Red Bull Spring Break, Sundance Festival and South by Southwest. Her vision and ambition expanded with the addition of powerhouse vocals by classically trained pop singer Amanda Maze. Their partnership is driven by natural chemistry and a playful, laid back friendship. The duo’s debut single, the “lousy ex-boyfriend”-inspired anthem “Tear Me Down” is impacting Top 40 radio, while the throbbing “Strip Me Bare” (the title track of their EP) is being shipped to clubs and DJs across the country. It also garnered the “Best EDM Song” award at the Hollywood Music In Media Awards show in November 2014. Currently, the girls are preparing three high-energy music videos— including a slick, clubby, Hollywood-vintage (‘60s) themed clip for “Strip Me Bare.” This EDM-fem duo is a real world example of how going the DIY route can get you places. Indeed, they’re having a blast gearing up to unleash more of their pop meets electro-pop (or, as they dub it, “poppy house”) on the world. For more info, see

Have a successful DIY strategy to share? Email still pushing boundaries long into their careers, as well as new artists coming into their own. To see what the latest happenings are at the label, go to


BMG Chrysalis has acquired the Los Angeles based rock label, Vagrant Records. As a part of the deal, BMG is acquiring the entire Vagrant catalog, as well as its rights to future recordings. Financial terms of the acquisition were not disclosed.

LITTLE DRAGON SCORES GRAMMY NOD Little Dragon announced that their album, Nabuma Rubberband, has been nominated for “Best Dance/Electronic Album” at the upcoming Grammy Awards. In fact, they are the only “band” nominated in a category containing Aphex Twin, Deadmau5, Röyksopp & Robyn and Mat Zo. The Gothenburg group has steadily grown from being an underground secret to international acclaim. Their unique recording process has made fans of some of the biggest names in music including Pharrell Williams, Questlove and OutKast. Gaining popularity among such tastemakers led to collaborations with Big Boi, Gorillaz, Future and SBTRKT. The release of their fourth album, via Loma Vista, is a culminating moment after years of building a grassroots fanbase. For more, see 24 January 2015

Annual sales of vinyl albums have exceeded the one million mark for the first time in two decades. The figure is already ahead of the 780,674 sales posted in 2013, and considering the key Christmas trading period still to come (at press time), it’s likely the final total for 2014 will rise towards a figure of 1.2 million unit sales—a level of vinyl consumption not seen since 1996, when 1,083,206 LPs were purchased. The best-selling vinyl album of the year to date is AM by the Arctic Monkeys, although the current Official Vinyl Chart No.1 is the David Bowie best of—Nothing Has Changed, just ahead of Pink

Floyd’s first album in 20 years, The Endless River—whose first week vinyl sales of over 6,000 copies are the highest of any LP released since 1997, making it the fastestselling vinyl album this century. An “Investing in Music Report” shows record labels have invested $4.3 billion (U.S.) In A&R and Marketing. Labels remain the primary investors in artists, investing 27% of their revenue in the areas of A&R and marketing. In fact, over the last five years it is estimated that record companies worldwide have invested more than $20 billion (U.S.). More than 7,500 artists are signed to major labels’ rosters, with tens of thousands more on independent labels, with one in five artists being a new signing. The report was published by IFPI, representing the recording industry worldwide, in association with WIN, representing independent labels internationally. BERNARD BAUR was voted one of the “Top Music Business Journalists” in the country. Bernard is the connection between the streets and the suites. Credited with over 1,200 features in a variety of publications, he’s a Contributing Editor at Music Connection.

The Truth About TAXI… An Unedited Forum Post from TAXI Member James Kocian


i Friends, It's been awhile, but I'm still here!! TAXI has been the singular catalyst for me in the past 2 years. I am closing in on 2 years of membership and my experience has been overwhelming. I will be at the Road Rally this year, as I've recently been invited to speak at the 'Successful Members' panel. This is all beyond humbling to me, and I feel indebted to Michael and his incredibly talented staff.

Taking Risks…

In a nutshell, TAXI has motivated me and allowed me to take creative risks; to dabble in genres I didn't even know existed, and to develop relationships with high-level music professionals I otherwise would NEVER have had access to.

Major Publishers

So far this year I've signed 13 songs with major publishers. I'm writing with people all over the USA, and have made regular trips to Nashville a part of my routine. I've been co-writing with a guy who has had multiple (recent) #1's. It boggles my mind actually.

Once in a Lifetime Opportunity!

I'm writing Hip Hop tracks for a well known rapper's next project, and I'm connected to a MultiPlatinum, Grammy-Winning Producer who allows/asks me to regularly send him material to pitch to the biggest artists in music. That in and of itself is enough is a once in a lifetime opportunity, and it's been ongoing for nearly a year. There's more, but this isn't about me. It's about: T-A-X-I Have I mentioned that I live in GREEN BAY, WI? I mean, sure, we have the Packers — but it isn't exactly a music hub for anything more than Journey tribute bar bands.

I really can't stress how invaluable TAXI is to people who are willing to put the CRAFT into the ART of songwriting and music production. The "Forwards" section of the [TAXI] forum itself is worth the membership fee. Why?

Figured Out What Elements I Missed…

It's not to brag about Forwards. What I did was hit the [TAXI] Forums after I got “Returns” and found members who received “Forwards” for the same listings. Then I went and LISTENED. I analyzed the differences in our songs. Lyrics. Vocals. Arrangements. Instrumentations. Productions. I re-read the listings, and figured out what elements I missed. And I adjusted accordingly. Where else can you get that? The success of members (at least this member) is a TEAM effort. And I am honored to consider TAXI part of my team. It is possible to succeed. To “make it.” To realize our dreams. Don't quit. Don't settle. Don't lose hope. And stick with TAXI.

The World’s Leading Independent A&R Company

1-800-458-2111 •

June 2014




Date Signed: June 5, 2014 Label: Smile Records Band Members: Brian C. Stewart, lead vocals, guitar; Chris Lawrence, steel, B Bender, 12-string guitars; Dusty Wakeman, bass; Bill Stewart, drums. Type of Music: Americana/Alt-Country/Power Pop Management: Blue Rider Music Booking: Triple A Showcase Legal: N/A Publicity: N/A Web:; A&R: Tony Valenziano

Date Signed: !"#$"%&'()*+ Label: ,"-'."-'/012%34 Type of Music:'56#70%852#79%6-0%8:%0";',2<=>?2@ ManagementA'50<B>;"#"703 Booking:',"-'."-'/012%34 Legal:'C8D Publicity:'D#3&',%0#1E'>',"-'."-'/012%34 Web:'B"10F22=G12;8;%1E%643$#1"#' A&RA':"H0'."9<0&



hat happens when a legendary classic rock icon takes a shine to your material—and offers to collaborate with you? You drop everything and take them up on it! That was the case when Phil Everly, half of the timeless pop duo the Everly Brothers, made that very proposition to Los Angeles studio session man and singer/songwriter/ guitarist Brian C. Stewart. The late Everly brother (who died in January 2014) and Stewart had been friends for several years, but had never previously worked together. That all changed from February 2012 to June

90#-&>42;0-E6#7'.E%64-2@E0%':$#1"#'64'"'512--64E'46#70%8 42#79%6-0%'B%2;'I<"4729J'512-<"#3'9E2'9"4'%"6403'F&'1<"4461"<<&' -%"6#03';$461"<'@"%0#-4G'K0'B2<<2903'6#'-E06%'B22-4-0@4J'F$-'30-2$%03' 6#-2'3%0";&'"12$4-61>F"403'@2@G' LD-'-E0'-6;0'-E"-'M'467#03'96-E',"-'."-'/012%34'M'9"4'N$4-'9%6-6#7' %"#32;'42#74JO'0P@<"6#4':$#1"#G'LQE0%0'9"4'#2'630"'2B'"#'"<F$;'F0E6#3' 6-G'M-'9"4#R-'$#-6<'1<240'-2'-E0'0#3'2B'-E0'"<F$;'-E"-'-E0'9E2<0'-E6#7'4-"%-03' ;"=6#7'40#40GO

“Tony was interested in this project because of Phil Everly’s involvement.”

“The label is handling all the other stuff that I’m not very good at, like PR and getting gigs.”

2013 as they penned a dozen songs that eventually became the Smile Records release Get Your Phil. Stewart and his band Lost Coyote approached Smile Records owner Tony Valenziano, whose label is known as a legacy and power poporiented label (the Knack, Dave Mason, Berlin). “It’s weird, I’m a nobody,” says Stewart with a chuckle. “I’ve been around the block for years. I just never made it over the big fence. But Tony was interested in this project because of Phil Everly’s involvement. Let’s face it, there’s a lot of great records that no one can get distribution for. I’m just being honest.” Lost Coyote’s Get Your Phil will be released globally on March 15, with subsequent tour support in the planning stages. “Phil told me that he had no complaints with his life when we were working together,” recalls Stewart. “He said, ‘I will sing “Wake Up Little Susie” until the cows come home and be thankful to my soul for it. But for all the pats on the back and the awards I’ve gotten, I really wish people heard what I was doing now.’ Phil was my friend and that’s what I’m trying to do here.” – Eric A. Harabadian

/2$7E<&'-92'&0"%4'"72':$#1"#'40#-'"'30;2'-2'-E0'<"F0<G'QE0&' 6;;036"-0<&'@$-'6-'2#'-E06%'90F46-0R4'30;2'@"70G'S6-E6#'"'-92>;2#-E' @0%623'-E0&';"30'-E0'2BB0%'-2'467#'E6;G'LM-'9"4'"'@%0--&'4-%"67E-B2%9"%3' 30"<J'"1-$"<<&JO'4"&4':$#1"#G'LM'40#-';$461'-2'2#0'2-E0%'<"F0<J'F$-'M'%0"<<&' <6=03',"-'."-'F01"$40'M'<6=0'"'<2-'2B'-E0'2-E0%'"%-64-4'2#'-E06%'<"F0<GO D'30F$-'46#7<0'0#-6-<03'L,2%O'9"4'%0<0"403'"4'"'329#<2"3'2#'C2HG'(TG' D'B$<<><0#7-E'"<F$;'64'4<"-03'B2%'%0<0"40'42;0-6;0'-E64'4$;;0%G LQE0'<"F0<'64'E"#3<6#7'"<<'-E0'2-E0%'4-$BB'-E"-'MR;'#2-'H0%&'7223'"-J'<6=0' ?/'"#3'70--6#7'7674JO'4"&4'-E0'&2$#7'512-4;"#G'LQE0'"%%"#70;0#-'M'E"H0' 96-E'-E0;'64'-E"-'90'"%0'N$4-'-"=6#7'6-'2#0'4-0@'"-'"'-6;0J'B2%'-E0';2;0#-J' "#3'400'9E0%0'6-'7204GO ?<"#4'B2%'-2$%6#7'96<<'12;;0#10'B2%'-E0'UGVG'"#3'W$%2@0'6#'()*X'"4' 90<<G'LMRH0'4@0#-'"'<2-'2B'-6;0'92%=6#7'F&';&40<B'%012%36#7';$461JO'4"&4' -E0';$<-6>B"10-03';$4616"#G'L52J'6-R4'%0"<<&'#610'-2'70-'0#12$%"70;0#-'"#3' B003F"1='B%2;'-E0'B2<=4'"-',"-'."-G'QE0&'76H0';0'-E0'4$@@2%-'-2'12#-6#$0' 326#7'9E"-'M'32GO'!"#$%&"'(")*$*+*,%*-'

26 January 2015


Date Signed: May, 2014 Label: Island Records Type of Music: Folk-Rock Band Members: Kami Thompson, vocals, acoustic guitar; James Walbourne, vocals, acoustic guitar, electric guitar, mandolin, piano. Management: Martin Kelly - Heavenly Management, martin@ Booking: Paul Buck - Coda, Legal: Ann Harrison, Publicity: Chloe Walsh - Press Here Publicity, Chloe@ Web: A&R: Ian Brown - Mighty Village,


ami Thompson and James Walbourne weren’t strangers to labels —each was signed to Warner Bros. and Heavenly Records, respectively. The deals were one-offs, though, and while seeking their next project they decided to unite creative forces. Stirring up interest from a label remained a secondary concern. While recording, however, they stirred up interest in each other and married. “We have a lovely manager, Martin Kelly, at Heavenly Management,” divulges Thompson, daughter of legendary duo Richard and Linda Thompson. “Once we’d gotten a bunch of the record together, he met

“Unless you’re Katy Perry or Taylor Swift, you’re not in a position of power.” with Ian Brown from Mighty Village, a sort of folky label in the U.K.” Brown, excited about signing a more rock-oriented group, inked the pair. As Mighty Village is distributed through Universal, Brown played the tracks for Island, suggesting they resurrect their Pink label by way of introducing the Rails. “All the iconic folk-rock records I really loved were on Pink,” recalls the singer. “It felt like a huge seal of approval.” In the U.S., the group is signed to Caroline, which has so far released their debut EP, Fair Warning, via iTunes. The couple didn’t have room for negotiation. “We’re not really in a position to ask for anything,” admits the British siren. But having a powerful label with wide-reaching distribution, she reasons, would help them rise above the noise in a way they previously hadn’t. “Unless you’re Katy Perry or Taylor Swift,” she advises, “you’re not in a position of power, so you have to make peace with whatever the pitfalls are and make an independent decision about whether you’re comfortable with the payoff.” – Andy Kaufmann

BEAN Date Signed: November 2013 Label: STRZ The Label Type of Music: Pop Management: Adam Mehl Booking: The Agency Group Legal: Sid Fohrman - Barnes and Thornburg LLP Publicity: Web: A&R: Eric Baker and Nick Gross


ven before signing with the growing indie, STRZ The Label, Noelle Bean (known by her surname Bean), was building a great deal of career momentum on her own. In 2013, the Dallas born, Nashville-raised and Los Angeles-based singer/songwriter—whose music has been featured in spots for Mitsubishi, Lay’s, Bud Light Lime and Coca Cola—wrote the theme song for the newly launched OK! TV entertainment news show and became a popular live performer, opening for Colbie Caillat, Megan & Liz, Hot Chelle Rae and Austin Mahone. She also performed at Bonnaroo 2013, and with Kalin and Myles for their 2014 National Summer tour. But it was the homegrown YouTube video (budget: $500) Bean made for her infectious tune “Cops and Robbers” that led to a recording deal and the

“Once they found out I had self-written songs already recorded, it was as if I was a prepackaged deal ready to go.” release this past summer of her debut EP, Rollercoaster, whose title track was Bean’s first pop radio single. Her L.A.-based lawyer Sid Fohrman is good friends with STRZ The Label’s label manager Eric Baker. “They both had seven-year-old sons on the same baseball team,” Bean says. “At one of their games, Sid mentioned ‘Cops and Robbers’ and told Eric about me and the fact that I’m constantly writing songs. Eric agreed to check out the video and showed Nick Gross, who owns the label. They called to say they loved what they heard. The next thing you knew, they flew me out to L.A. from Dallas, where I was living at the time, set me up with some writing sessions and asked me if I wanted to sign with them.” Bean believes the fact that being a prolific songwriter as well as a strong singer was the key to her getting signed in a competitive market. “Songwriting and publishing are super-important for artists these days,” she says, “and once they found out I had a handful of self-written songs already recorded, it was as if I was a prepackaged deal ready to go.” Bean has been on several tours in 2014, including the IHeart On The Rise Tour with Jake Miller, T Mills and Becky G. She also performed all three nights on the KIIS Stage for One Direction’s Rose Bowl run in Pasadena. Her next EP, due in early 2015, will have more of an indie-pop vibe than her debut. – Jonathan Widran January 2015 27

Free Class at Song Arts

If you are a New York-based songwriter, you should know about Song Arts, a series of classes to help songwriters get to the next level in writing stronger and more focused songs. On Mon. Jan. 5 from 6:30 p.m. - 9:00 p.m. Song Arts will offer a free class at 244 Rehearsal Studios 244 W. 54th St. 10th floor, Kirov Suite (between Broadway and 8th Ave.) to introduce time proven techniques and strategies used by hit song-writers to win an audience for their music. By seeing clearly, “How the pros do it,” students can quickly apply these “Songcraft” skills to their songs. To attend the free Song Arts Academy Introduction Class, go to Select “Tell Us About Your Music” and fill out the prompts.

SESAC Hits the Beach SESAC’s top executives from New York, Nashville and Los Angeles joined Miami’s music industry leaders for the official unveiling of the performing rights organization’s new Miami office, dubbed “SESAC Miami.” Pictured (lr): Trevor Gale, Albert Ramirez III, Sam Kling, Mayte S. Alvarez, SESAC; Marie Antoinette; Dennis Lord, SESAC; Leila Cobo, Billboard; and J.J. Cheng, SESAC.

Petersen to UMPG

Berklee and Kobalt Announce Initiative

Berklee College of Music and Kobalt have announced what they expect to be an innovative collaboration for driving growth in the new music industry. Kobalt is providing a two-year grant for Berklee’s Rethink Music initiative to continue its series of global events and fund a student study in conjunction with the school’s newly formed Institute for Creative Entrepreneurship (BerkleeICE). The student-led project will review the ways technology and transparency can help address global music licensing issues and bring artists, writers, publishers, labels and distributors closer together. Additionally, in an effort to support up-and-coming songwriters,

Jazz Connect Conference in New York

The Jazz Connect Conference, organized by JazzTimes and the Jazz Forward Coalition, will be held Jan. 8-9 in New York City and will lead into the annual APAP (Association of Performing Arts Presenters) Conference as well as Winter Jazzfest. Continuing the momentum from the January 2014 event, which hosted over 800 registrants, the Jazz Connect Conference in 2015—based on feedback from attendees—will feature a series of workshops, panels and events. With a theme of “Strength Through Community” the conference will again bring together a wide cross-section of the jazz community for 12 workshops and five plenary sessions, on a variety of timely and engaging subjects. Moderators and panelists include an impressive cross-section of artists and professionals. Returning this year will be an “Ask the Experts" networking session enabling emerging artists and professionals to connect and acquire valuable input on their own careers and operations. Info is at

Getting High with Hit Songwriters

From Jan. 14-18, in Crested Butte, CO, the Mountain High Music


Universal Music Publishing Group (UMPG) has appointed veteran music publishing lawyer Michael Petersen as Senior Vice President, Business & Legal Affairs. Petersen will be based out of the company’s N.Y. office and responsible for contract negotiations for new and existing writer and catalog signings, acquisitions and other legal matters.

Kobalt is providing a $10,000 merit-based scholarship annually to songwriting majors at Berklee. The Kobalt Scholarship will be named after various Kobalt songwriters each year. Details at

Tempchin Tempts Blue Elan Hit songwriter (“Peaceful Easy Feeling,” “Already Gone,” “Smuggler’s Blues,” “Slow Dancin’ (Swayin’ to the Music)” and Song Biz profile subject Jack Tempchin has signed a deal with Los Angeles-based record label Blue Elan. Pictured at the Grammy Museum (l-r): L.A. City Councilman Tom LaBonge, Jack Tempchin and Grammy Museum Executive Director Robert Santelli. 28 January 2015

ASCAP Centennial Awards Billy Joel, Stevie Wonder, Garth Brooks, Joan Baez and Stephen Sondheim were honored in New York with the ASCAP Centennial Award. Performers included Sting, Emmylou Harris, Bernadette Peters and others. Pictured (l-r): Sting, Billy Joel and Paul Williams, ASCAP.


ASCAP To Honor Doobies The American Society of Composers, Authors and Publishers (ASCAP) has announced that it will honor rock icons the Doobie Brothers with the prestigious ASCAP Voice of Music Award during its 32nd annual Pop Music Awards. The invitation-only gala will take place on April 29 at the Loews Hollywood Hotel in Los Angeles, CA. The event will also celebrate the songwriters and

publishers of ASCAP's most performed pop songs of 2014. The 32nd ASCAP Pop Music Awards will precede the 10th annual ASCAP “I Create Music” EXPO, April 30 - May 2 at the Loews Hollywood Hotel in Los Angeles, CA. For more details, visit

BMI Foundation peermusic Scholarship The BMI Foundation, a nonprofit corporation founded in 1985, is continuing its mission to support the creation, performance and study of music with the announcement of the opening of the 12th annual peermusic Latin Scholarship competition: a program for student songwriters and composers of original Latin music. Established by music publisher Ralph Peer II and funded by peermusic, a global network of music publishing companies with 33 offices in 27 countries and a catalogue of well over a quarter of a million titles from every genre of music, the competition awards a $5,000 scholarship for the best song or instrumental composition in any Latin genre. The program is open to students ages 16 - 24 who are enrolled in any college or university located in the U.S. and Puerto Rico. All words and music must be original. Applications may be completed entirely online, no later than Feb. 13. Official rules and applications are available on the BMI Foundation’s peermusic Scholarship page. See DAN KIMPEL, author of six music industry books, is an instructor at Musicians Institute in Hollywood, CA. He lectures at colleges and conferences worldwide.


Festival will present a diverse lineup of performers along with buzzed about, up-and-coming talent for an eclectic mix of milehigh musical performances. The Mountain High Music Fest will offer patrons the opportunity to listen to the accomplished songwriters including its presenter, the BMI Icon Dean Dillon, whose songs helped skyrocket George Strait to stardom. Patrons will have opportunities to experience the songs of Robert Earl Keen, Thompson Square and Lee Brice in an intimate venue. Music will be performed on the mountain, at the base area, and in the town of Crested Butte. Building on last year’s successful event, which raised more than $40,000 for local charities, this year’s festival will once again raise money and awareness by showcasing the faces, voices, and stories behind some of today’s biggest hit songs. Fans and songwriters will swap stories and mingle in a series of full-band, casual and intimate performances set against the breathtaking backdrop of Mount Crested Butte. This event is sponsored by BMI. For info, visit

Kimpel and Quan for NSAI San Diego MC’s Dan Kimpel and music supervisor David Quan discussed what makes a song marketable in today's music business for a record turnout of the San Diego Chapter of Nashville Songwriters Association International (NSAI). Pictured (l-r): Vance Marino, NSAI; Dan Kimpel; David Quan; and Tracey Marino, NSAI. For more info check out

SongTown Educates and Connects The SongTown project began as a Facebook group, which currently has nearly 12,000 members. Now with the launch of, co-founders and Nashville songwriters Clay Mills and Marty Dodson, plan to provide webinars, classes, retreats, video tutorials, advice and more for aspiring and professional songwriters of all genres.

Songwriter, recording artist and Song Biz profile subject, Sharon Robinson, has a new book of candid photos taken as she accompanied Leonard Cohen around the world, singing onstage for the bard. Robinson, who is one of Cohen’s rare co-writers, reveals all in her book On Tour With Leonard Cohen, available at bookstores and online.


Sharon Robinson Captures Leonard Cohen

BMI Benefit In Vegas BMI, Naked Monkey Entertainment and M3Live Concert Hall presented the charity event, “Write On Vegas,” at Hard Rock Live, benefiting Education Through Music–Los Angeles (ETM–LA), which promotes and provides music in disadvantaged schools. Pictured (l-r): Piva, singer/songwriter; Raquel Sofia, performing artist; Delia Orjuela, BMI Vice President, Writer/Publisher Relations, Latin Music; and Alicastro, performing artist. January 2015


Gregg Alexander:

From New Radicals to Begin Again By Dan Kimpel


s a teenager, Gregg Alexander came to Los Angeles from Michigan and recorded two solo records before forming the group New Radicals. In the wake of that band’s massive international hit, “You Get What You Give,” Alexander retreated from the rigors of the record machine, preferring to write songs for other artists, including “The Game of Love,” a Grammy-winning hit for Michelle Branch and Carlos Santana. Alexander, who lives primarily in New York and London, is now back in the spotlight as the composer and songwriter for the John Carneydirected film Begin Again starring Keira Knightly as a singer/songwriter, Adam Levine of Maroon 5 as her ascending rock star boyfriend and Mark Ruffalo as the disgraced record producer who helms Knightly’s character’s solo recording debut. Among the songs in the film is the luminous “Lost Stars,” performed onscreen by both Knightly and Levine, included as a bonus track on the current Maroon 5 release V and now in contention for an Oscar nomination. “[‘Lost Stars’] is one of those songs I heard and I was just thinking to myself, ‘Man, I’m really pissed I didn’t write that song,’” says Levine. Growing up without formal musical training, Alexander obtained his education through records. “What we had at the house were the Everly Brothers, Jimmy Rodgers and Andy Williams,” he says. Among his influences, he recalls listening to “really old Motown, ‘Jimmy Mack’ and Little Anthony & the Imperials. And ‘70s soul and ‘80s pop records are comfort music to me.” Alexander––who does not want to be considered some anachronistic “Luddite”––is not a fan of our current era of pop. “I worry about kids who are growing up listening to contemporary pop radio, because if that is going to influence their musicality, it is easy to be terrified of what music could sound like 20 years from now,” he laughs. Songwriters and collaborators for Begin Again include director John Carney, Glen Hansard, Nick Lashley, Rick Nowels, Nick Southwood and Alexander’s former New Radicals bandmate Danielle Brisebois. Alexander says that he comes into co-writing situations with strong opinions on chordal structures. Similarly, his best-known hit with New Radicals, “You Get What You Give,” and “Lost Stars” reveal an evocative affinity for major 7th chords. “As a child I tended to love songs that had these uplifting major 7th chords, like ‘Rock Your Baby’ by George McCrea,” he explains. “I guess if the tritone is the devil’s chord, then maybe the major 7th is the angel’s chord.” At the recent Hollywood Music in Media Awards, Alexander fronted a band to perform “Lost Stars,” and he says he enjoyed being back on stage. “I was always more enamored being in the studio and being able to craft the sound of a piece of music. However, I like playing live but I don’t realize it until I am actually on stage. If I had more of that extrovert gene, where I wanted to be the center of attention––which I think is an important characteristic to have as a frontman––I’d be more prone to wanting to perform. However, when I do it’s a lot of fun.” Gregg Alexander cherishes his long relationship with hit songwriter and producer Rick Nowels. “When I got to California in 1986 one of the first people I met was Rick. As I like to joke, I met about five people in the music business and he was the least sleazy so we ended up working together and becoming good friends. And he’s incredibly talented and hard working, a unique survivor in an ageist business. It is an invaluable and irreplaceable unique musical and spiritual connection we’ve had over the years.” Discussing the Academy Award possibilities, Alexander is most interested in how acknowledgment of the music could help to promote the film. “A lot of the awards tend to be studio driven, so its always a pleasant surprise when something a little different sneaks in. If the music gets recognized, it’ll draw more attention to the message of the film and get more people to see it,” he surmises. “But I never take anything for granted.” Contact Ray Costa, Costa Communications, 323-650-3588,

30 January 2015

Music speaks.

Money talks.

SESAC listens.

You asked. We listened. Thatâ&#x20AC;&#x2122;s why we pay royalties monthly and pay for live performances. Visit and get the royalty treatment you so richly deserve! January 2015



With shooting to begin in 2015, Pixies’ Joey Santiago will make his feature film acting debut in The Bridge, an independent film written and directed by Bobby Field. Rock and roll fans will appreciate the premise of a small town music prodigy’s fighting a dark past with Santiago featured as a guitar-playing motel owner among a cast of other rock musicians including Joe Ellliott of Def Leppard and Al Jourgensen of Ministry. Contact Heidi Ellen Robinson-Fitzgerald at for details. A 2015 completion date is expected for The Blues House, a new documentary executive produced by Dave Stewart, renowned musical collaborator (Mick Jagger, Stevie Nicks) and founder of Eurythmics. Centered around the 1960s search for Depression-era blues singers like Skip James and Son House driven into retirement, the film is directed by Sam Pollard and produced by Benjamin Hedin. Stewart also appears as an interviewee in the film, which will feature originals by recording artist and guitarist Gary Clark, Jr. Get more details from Mitch Schneider at

JOEY SANTIAGO The gems therein are powerful: “To act on a bad idea is better than to not act at all, because the worth of the idea never becomes apparent until you do it. Sometimes this idea can be the smallest thing in the world, a little flame that you hunch over and cup with your hand and pray will not be extinguished by all the storm that hails about it. If you can hold onto that flame, great things can be constructed around it that are massive and powerful and world-changing—all held up by the tiniest ideas.”

Drafthouse Films’ 20,000 Days on Earth hit the street recently, immersing watchers into the pensive, prestigious and often deeply dark psyche of Nick Cave. Told in semi-biographical form, the Iain Forsythe and Jane Pollarddirected documentary follows the songwriting luminary on numerous car drives, conversations with friends, studio time and arresting performances to tap into the artist’s creative impetus.

Fat Mike of NOFX recently announced that Home Street Home, a new punk rock musical concept album, will be released on Feb. 10

NICK CAVE 32 January 2015

Tragic, hysterical and intense, Very Extremely Dangerous, which dropped in November, depicts one cancer-ridden country artist living the life of an actual “outlaw,” which many of his musical peers could only impersonate. This story of the late Jerry McGill, directed by Paul Duane, would be almost unbelievable if footage didn’t show otherwise. After cutting one record at Sun Records in 1959, the Memphis-born McGill was on the lam for nearly 50 years, robbing banks and running from the feds. The tragedy of a career that could have been is caught here, as is the intensity that comes from McGill’s shady charm and explosive temperament—depicted in grippingly violent scenes like one in which McGill argues with long-lost girlfriend Joyce over the finer details of the biblical story of Adam and Eve. For more details, contact

through Fat Wreck Chords prior to the debut of a theater production. The production, directed by L.A. Stage Ovation Award winner Richard Israel, focuses on street subculture as well as survival and love between runaway teenagers that live there, featuring music and lyrics by Fat Mike as well as lyrical contributions from Tony Award winner Jeff Marx and AVN Award winner Soma Snakeoil. Fat Mike and NOFX are featured on the 18-track album, which is a portion of the production’s full score. For more information, visit and email Tito Belis,


Friday Night Lights Podcast with Jake Hirsch is seeking experts in all areas of entertainment including filmmakers, musicians, actors and writers. Hirsch’s show is based out of Calgary and averages thousands of weekly listeners. Reach him at JakeHirschEg@ and view his site at or fridaynight Visit Bernwood.TV to find out more about contributing interpretive dance to a music video for a Netherlands-based DJ duo. This is the filmmakers’ fourth music video for the artist, and they are seeking a male and female dancer. Their latest music videos can be viewed at watch?v=mA2bgPYDYvU and watch?v=-A0rgcSjYrY. This is a paid gig. A composer working on major film and television projects is looking for an assistant to do running, tech support and general personal

– JESSICA PACE assistant work with potential for music-related assignments. Hours vary from part-time to full-time, and there is modest pay. Applicants should be proficient in Logic Pro 9 and Logic X, Softsynths/plugins and Mac OSX with some knowledge in analog gear, FTPs, iTunes, Quicktime, ProTools, Microsoft Office, midi, editing audio, music reading skills and western music. Those interested should email a PDF résumé and link to a website with demos. Contact info: LosAngeles. tfr/4779481200. html. Ambulante California, a nonprofit entity that brings free documentaries to areas with limited film access, seeks interns starting Jan. 12 who want to gain experience in the film festival marketplace and nonprofit art. Ambulante will produce, program and co-present a series of screenings throughout L.A. in spring and summer 2015 and leading up to a film festival tour in September. Visit for more information. Renowned voice coach Gary Catona and producer Mark Skelton have launched a new reality show called The Ultimate Diva with singer Aneeka, presently on tour seeking eight U.K. contestants and one U.S. contestant


Education Through Music-Los Angeles (ETM-LA) recently honored legendary Academy Award winning composer and lyricist Richard Sherman at its 9th annual benefit gala in December at the Skirball Cultural Center. The “Shining Star” award is given each year to those whose contributions through music impacts lives. Sherman is best known for co-writing with his late brother songs from the 1964 motion picture Mary Poppins. Students from ETM-LA and Burbank’s Roosevelt Elementary School performed an arrangement of Sherman’s music from Mary Poppins in addition to a sing-a-long with Sherman on the piano. Contact Albert Tello at for more information. A 35-plus-year producer, marketer and distributor of film music, Varèse Sarabande of Varèse Sarabande Records recently announced new digital media initiatives, including weekly Spotify playlists and original content on YouTube. The YouTube channel has been repositioned to showcase original content produced by the label, including short-form music videos

THE ULTIMATE DIVA to be the next great “diva.” Contestants will be taught vocal skills by Catona and also how to manage success, and the winner will score a record deal. The makers will also select “the Wild Card,” a tenth contestant chosen worldwide. Applications for this tenth contestant are accepted until Jan. 5, 2015. For more information, visit Singing-contest.html. For timely Opportunities and news every day, be sure to check out MC’s home page at!

featuring select tracks from soundtrack releases, behind-the-scenes videos highlighting the creative process of soundtracks and lyric videos from singles released on soundtracks. Recent videos include a lyric video for “Who You Talkin’ To, Man” by Ciscandra Nostalghia from the soundtrack to John Wick as well as interview pieces from the Whiplash soundtrack. Contact Beth Krakower at Beth@ to find out more. JESSICA PACE lives in the Nashville area and writes about music, local government and education. Contact her at j.marie.

Out Take

Chanda Dancy

Composer, Sound Designer Email: Chandler Poling, Chandler@ Web: Most Recent: Unmentionables THE MIXED BAG OF PROJECTS that composer and sound designer Chanda Dancy works on now is as varied as the projects she took when she first started out in Los Angeles, and she advises taking every single one. “Don’t ever say no, especially when you’re first starting. It may not be so glamorous; it may be a student film or something for 100 bucks, but take stock of the people asking you to work on them, do above and beyond and people will recommend you to other people. I haven’t had a business card since 2004, because of word-of-mouth,” Dancy says. According to her, taking on all projects when she was getting started 10 years ago opened her up to the filmmaking community and eventually led Dancy to opening her own studio this past June. “In 2004, right when I graduated from University of Southern California, I had the idea I was going to work with Hans Zimmer or something and pay off all my students loans in one summer. But I was getting short film gigs, and I did one in particular, and it was a little difficult,” she says. The girl working on the film couldn’t pay Dancy at all, but the composer stuck with the project to establish relationships; now the editor of that film is one of Dancy’s closest directing partners now. “From personal experience, the most practical thing is always to have a good source of income. Use your own capital to make your dream come true. Take as many different projects as you can, meet as many people as possible, do 100 percent and remember no one is going to hand you anything.”

January 2015


Layla Lane is in My Ears! Mr Musichead Gallery welcomed guests including Chris Carter (Host of radio's Breakfast with the Beatles) and Jack Oliver (president of Apple Records) to its Charity Beatles Auction Sale, benefiting the Silverlake Conservatory of Music. The evening marked the beginning of an online auction of rare photographs, memorabilia and autographs. The event raised $500 towards the Silverlake Conservatory of Music's fund to build a new facility that will double its enrollment. Providing entertainment was the unique pop-rock duo Layla Lane. Pictured (l-r): Layla member Valerie. See for more.

Daniels and Sinise Bring Holiday Honors to Troops


Charlie Daniels made a special guest appearance at the 2014 Christmas Concert for the Troops at the John F. Kennedy Center in Washington, D.C. Daniels and his manager David Corlew are board members and co-founders of the Journey Home Project, which exists to assist other not-for-profits in securing funds to help causes that benefit Veterans of the United States Armed Forces. Pictured (l-r): Charlie Daniels, Gary Sinise and David Corlew.

IHeartRadio Fiesta Latina The first-ever iHeartRadio Fiesta Latina festival wrapped up recently at the Forum parking lot in Inglewood, CA. The festival is the newest of iHeartMedia's concert events. Pictured performing is Ricky Martin. Get a full wrap at

The Neighbourhood performed at the second annual Pandora Holiday Discovery Den at the Grand Ballroom at Manhattan Center in New York City. Pandora's Discover Den connects fans with the artists they love, in a live setting. Also performing were Kiesza and Rudimental. Pictured (l-r): Zach Abels and Jesse Rutherford of the Neighbourhood. 34 January 2015


Pandora Holiday Discovery Den

Nashville School of Arts Features Will Hoge Singer/songwriter Will Hoge visited Nashville School of the Arts as the featured guest for its student produced program, â&#x20AC;&#x153;NSA Presents.â&#x20AC;? Launched by Julia Hoge, former NSA counselor and wife of Will Hoge, and hosted by Lightning 100 On-Air Personality, Wells Adams, the program is designed to bring in artists, musicians and actors to help students find ways to translate their passions into careers. Pictured (l-r): Wells Adams and Will Hoge.



John Oliver is a Sell-Out! John Oliver entertained a sold-out crowd at City National Grove of Anaheim. He was welcomed by his team and Nederlander Concerts talent buyer Mike Goldsmith before the show. Pictured (l-r): Leigh Brecheen, Bloom Hergott Diemer Rosenthal LaViolette Feldman Schenkman & Goodman, LLP; David Martin, Avalon Mgmt; Goldsmith; Oliver; James Taylor, Avalon; Rick Greenstein, Gersh Agency.

Tidbits From Our Tattered Past

Kevin & Bean Inducted Into Hall Of Fame The National Association of Broadcasters (NAB) announced the long-running Kevin & Bean Morning Show, which airs on CBS Radio’s KROQ Los Angeles, will be inducted into the NAB Broadcasting Hall of Fame. The induction will occur during the NAB Show Radio Luncheon, held April 14 in Las Vegas and sponsored by ASCAP. Pictured (l-r): Kevin Ryder and Gene “Bean” Baxter.



KROQ 25th Annual Almost Acoustic Christmas

LaFamos: The Hosts With The Most LaFamos PR and Branding, which represents a bevy of up-and-coming artists, hosted its annual holiday bash at its Los Feliz offices. Company honcho Hunter Scott and his staff entertained a crowd of revellers that included reps from Music Connection, Musicians Institute, MSO, Scoop and more. Pictured (l-r): Hunter Scott, Greg Smith, Nicole Acosta, Michelle Pizzo, Graham Peck and Amanda Blide.

Looking back into our time machine we see that MC ran a feature article, "Record Sales Rise: Is The Recovery For Real?" which recounted how the biz, after absorbing the body blows of home taping, video games and shrinking radio formats, was seeing an upturn thanks to Michael Jackson, the Flashdance soundtrack and Def Leppard. This issue also features club reviews of the Vandals and Tex & the Horseheads.

KROQ hosted its event at The Forum in Inglewood, CA. The show featured two nights of performances including past MC Cover Artists alt-J, Weezer, Imagine Dragons, Fall Out Boy, Modest Mouse and many more. Proceeds benefit local charities Para Los Niños and the Al Wooten Jr. Heritage Center. Pictured is alt-J.

1987–Song Special–#13 The song team of Billy Steinberg & Tom Kelly ("Like A Virgin") highlighted this issue, dedicated to the art and craft of tunesmithing. Said Steinberg, "What makes a song 'pop' is melody. If you write a melodic rock & roll song, you can have a pop-type hit with it. But if you write a rock & roll song without melody, you're not writing a hit single."

January 2015



36 January 2015




n edgy musician’s musician and a high profile film and television actress: On the surface, the duo She & Him, comprising Zooey Deschanel and M. Ward, might seem a somewhat mystifying matchup. Deschanel currently stars on the hit television series New Girl, while producer, guitarist, songwriter and vocalist and solo artist M. Ward has collaborated with everyone from Neko Case and Norah Jones to Conor Oberst, with whom he partnered for the Monsters of Folk collective. From the duo’s recorded debut, Volume 1, released in 2008, it was clear that She & Him was no vanity project, rather the endearing collaboration between two creative souls blending their talents into an incandescent partnership of deep and satisfying soulfulness. She & Him’s latest release, Classics, speaks to the depth of this connection and how it has shaped their musical identity. Released on Columbia Records, the project features the duo’s reinterpretations of well-known songs spanning pop gems to selections from the Great American Songbook. From the downbeat, it is clear that the pair was not intent of simply blowing the dust of nostalgia off of some hoary antique songs, but rather was intent on breathing new vitality into enduring lyrics and timeless melodies. In the following exclusive interview, MC speaks with the “Him” half of the duo, M. Ward, who explains how and why the record was made. Music Connection: We’re calling you in Portland, OR from Los Angeles. More specifically we are checking in from Eagle Rock where the latest She & Him project was recorded in one of our local studios, King Size Soundlabs. If we were to drive by, it would be difficult to convince anyone that on this industrial street of botanicas, liquor stores and taco trucks that behind an anonymous façade is a major studio. M. Ward: From the outside it looks like a room where you would never find an orchestra. But we crammed them all in there and got a great sound. We used great engineers, but we had to really map it out to fit a 19-piece orchestra in the studio. This made for a really big sound and a great experience. MC: Room dimensions were critical, correct? Ward: Yes. The whole experiment of the record was basically making this lifelong wish come true of recording live vocals with a live orchestra and to see what would happen. Hopefully, when people listen to the record they can feel that they’re in this live organic room instead of feeling like they are a part of some digital editing process, because most records are edited and recorded that way. So that was the experiment––to try everything live. MC: How do you map out the arrangements to work with an orchestra—including live horns and strings— of that magnitude? Ward: When I’m writing arrangements for She & Him records we’ll have a quartet come in and we will overdub them several times so it will sound like an orchestra. MC: Your track list includes a broad variety of wellknown songs identified, in most cases, with other artists, from Billie Holiday to Dusty Springfield. Was it intimidating to bring something new to these historic melodies and lyrics? Ward: It’s never intimidating; it’s more exciting as a challenge to add something to legendary songs. In my opinion songs are identified as great because they can be interpreted in so many different ways. Whether you’re talking about emotional interpretation or sonic interpretation, there’s so much to build

January 2015 37

off with these songs because the foundation is so strong: words, melodies and chords. So itâ&#x20AC;&#x2122;s exciting for me to work on songs that I hope will never be forgotten. MC: How did you avoid imitating what had been done before? Ward: There are so many great records of standards. We knew we didnâ&#x20AC;&#x2122;t want to make one that was completely in line with those. There are thousands out there that are great, but we wanted to make something that was different. Thereâ&#x20AC;&#x2122;s definitely a lot of eras going on in this record and I think this is what helps free it from being stuck in a typical standard record identify. I love Cole Porter, and a collection of his songs would be a great record, but thatâ&#x20AC;&#x2122;s not something we were interested in doing. MC: The lead-off single is â&#x20AC;&#x153;Stay Awhile,â&#x20AC;? a song originally recorded by Dusty Springfield. When

did you first become aware of this great British pop and soul singer? Ward: I started listening to her music probably after high school. Zooey had probably been listening to her music since she was born. She loves Dustyâ&#x20AC;&#x2122;s music. Zooey has turned me on to her more obscure songs. There is so much to discover. With â&#x20AC;&#x153;Stay Awhile,â&#x20AC;? I had never heard it until Zooey played it for me. Itâ&#x20AC;&#x2122;s the last song we recorded, and a little different than the orchestral arrangements. Itâ&#x20AC;&#x2122;s more guitars and brass. Itâ&#x20AC;&#x2122;s one of those songs that we could have done with just acoustic guitar and vocals simply because the song is so strong.

Ward: Sheâ&#x20AC;&#x2122;s pretty straightahead. Most of my favorite records you can feel some sort of emotion. More often than not, thatâ&#x20AC;&#x2122;s from hearing the singer clearly, and not drowning them in production tricks or needless guitar solos or string flourishes.

MC: Zooeyâ&#x20AC;&#x2122;s voice is equally unadorned. There is an authenticity and a straightforward quality that is very reminiscent of the great singers of earlier eras. Her voice has an innocence that relates back to the sounds of the â&#x20AC;&#x2DC;60s and singers for groups like the Seekers, it is so earnest.

MC: â&#x20AC;&#x153;This Girlâ&#x20AC;&#x2122;s in Love With Youâ&#x20AC;? is an interesting song choice. The original, sung by Herb Alpert, is from a male perspective. Zooey makes it a girlâ&#x20AC;&#x2122;s song. Ward: In my opinion itâ&#x20AC;&#x2122;s a standard with an amazing melody and chord structure. Zooey has a great talent for bringing out different emotional things in the lyrics that other singers donâ&#x20AC;&#x2122;t or canâ&#x20AC;&#x2122;t.

MC: Your own vocals have a Chet Baker intimacy to them on this record. Ward: Thank you. We love Chet Baker. His version of â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s Always Youâ&#x20AC;? inspired ours. We listened to his incredible chord changes. We are both huge fansâ&#x20AC;&#x201C;â&#x20AC;&#x201C;if that comes across in any way on the record, then I think thatâ&#x20AC;&#x2122;s a good thing!

MC: Even though the sound of the record is very dense, the arrangements have a lot of air and atmosphere. Ward: I love the idea of keeping things simple as much as we can in every element of recording, whether it is in production, arrangement or story telling. MC: It sounds as if Zooey is making certain melodic choices based on the richness of the chords behind the vocals. Ward: Thatâ&#x20AC;&#x2122;s the beauty that music has over literature; you have the ability to influence the audience emotion with these chord changes whether itâ&#x20AC;&#x2122;s major or minor or adding dissonant or diminished chords. Thatâ&#x20AC;&#x2122;s one part of music I really love getting involved in and manipulating to help the story, the song and the emotion. MC: Jim Keltner is on drumsâ&#x20AC;&#x201C;â&#x20AC;&#x201C;a legendary L.A. session cat; you also used him on your previous Christmas record, A Very She & Him Christmas. Heâ&#x20AC;&#x2122;s worked with Elvis, Dylan, Neil Young and so many other greats. What does Keltner bring to the session? Ward: He is a true living legend of drums, such a gracious spirit and an incredible talent. We are so fortunate to work with him again. When you start talking to him you realize how much experience he has in so many different types of music. It definitely comes out in his playing.

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38 January 2015

MC: We have a guitar geek question: the guitar sounds you chose are melodically in keeping with the era. What were you playing? Ward: My main guitar is the Gibson Johnny A electric. For acoustic guitars I have a Gibson J-45 and a Hummingbird. MC: As youâ&#x20AC;&#x2122;ve mentioned, the key to making the record was to track everything live, with you and Zooey singing in the studio as the musicians played. Where did you place your guitar amp? Ward: The guitar amp was in an isolation booth away from the orchestra. The amp we used the most was a Fender Deluxe. We had the strings in one huge room. But there is some bleed with the drums and the vocals. MC: Did you have eye contact with the musicians and Zooey as you tracked live? Ward: Yes, through glass. MC: Your career, both with She & Him and outside of the duo, is so varied. Do you have a central endeavor and consider everything

else outside of that dimension with your recorded output? Ward: The only central thing I have is being a listener to music. As far as output goes, I will follow my instinct and I am happy to be a chameleon in some kind of way and to support a project that I am really excited about. I donâ&#x20AC;&#x2122;t take on many projects in life. There are only so many things you can do, but my main relationship with music is being a listener. I get most of my inspiration from listening to older records and older guitar styles especially. MC: Portland, where you live, must be an interesting creative scene. Ward: Iâ&#x20AC;&#x2122;ve been here about 15 years. When I first got here it didnâ&#x20AC;&#x2122;t seem like there were that many recording studios or music venues. But it feels like everything quadrupled over the past decade. Itâ&#x20AC;&#x2122;s still probably the cheapest city to live on the West Coast so it brings in a lot of artists. Itâ&#x20AC;&#x2122;s a great city to do music. MC: When we interviewed a band from your hometown, the Decemberists, they noted that there is also a physical isolation, is there not? Ward: It leads to a sense of community. It might bring people together more than other places.

DJing and I was like, Iâ&#x20AC;&#x2122;d say 12 years from start to finish, and he was like, yeah same with us, but people donâ&#x20AC;&#x2122;t realize how long that is. He said, â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;m an 11-year overnight success and r;PPFZ%FTDIBOFMBOE.8BSEPSJHJOBMMZ youâ&#x20AC;&#x2122;re a 12-year overnight success.â&#x20AC;? met of the The in Go-Getter. But on all the thatset time isnâ&#x20AC;&#x2122;tmovie out there the public Ward doingisthe music and theI donâ&#x20AC;&#x2122;t director eye; all was that time about building. want work with him. The two towanted bury allDeschanel these littletopoints, because theyâ&#x20AC;&#x2122;re first performed Richard and Thomp-Iâ&#x20AC;&#x2122;ve significant in the awhole story ofLinda the success son able song,toâ&#x20AC;&#x153;When been create.I Get to the Border.â&#x20AC;? r&BSMJFSUIJTZFBS %FTDIBOFMSFDPSEFEB MC: You mustâ&#x20AC;&#x2122;ve faced plenty of obstacles, TPOHi'"--*/-07&/*5&uXJUI1SJODF  from thosethe DIY days upnever to today. did although two were in theHow same you tackle them? studio. She sent Prince, who was guesting Aoki: When about it, the firstand thing on New GirlI think a prerecorded track histhat I hear a lot is, itâ&#x20AC;&#x153;I into just adonâ&#x20AC;&#x2122;t have the money to DJ dropped remix. do something,â&#x20AC;? but that should never be an rClassics wasaengineered byarm, Pierre obstacle. I have tattoo on my â&#x20AC;&#x153;Byde Any Reeder, formerly aand band member in Rilothat Means Necessary,â&#x20AC;? thatâ&#x20AC;&#x2122;s the slogan Kiley, Brian Dim Makwith runs by. Rosemeyer assisting. [Regarding our] van, we didnâ&#x20AC;&#x2122;t have $17,000,

but we bought it and then we figured out how to pay it off. Iâ&#x20AC;&#x2122;m a deadline oriented person, and if I donâ&#x20AC;&#x2122;t have a deadline sometimes things just drag, so youâ&#x20AC;&#x2DC;ve got to force yourself to create r5SPNCPOF4IPSUZBOEMFHFOEBSZTFTTJPO your own deadlines when youâ&#x20AC;&#x2122;re doing your drummer/sideman Jimsometimes Keltner play on to the own projects, and you have album. your fucking house to make it mortgage happen. You have to put yourself in the red r)BWJOHQSFWJPVTMZSFDPSEFEGPSUIFJOEJF zone, where your heartClassics is beating label Merge Records, is and theiryou inauhave figure it out or else your going to guraltoColumbia release. get fucked. r4IF)JNBSFSFQSFTFOUFECZ;FJUHFJTU Itâ&#x20AC;&#x2122;s been a long growth with Dim Management, a company helmed by Jordan Mak, 18 years being an indie is near Kurland, with San Francisco impossible, butoffices weâ&#x20AC;&#x2122;veindodged so manyand New York: bullets and weâ&#x20AC;&#x2122;ve survived so many crashes, but the big thing and any CEO of r-JWFQFSGPSNBODFTBSFBOJNQPSUBOUFRVBany say this, your power tioncompany in She & can Himâ&#x20AC;&#x2122;s success: they haveand your business is in the people hire, played high profile events likeyou South byI felt like it took time but I have fucking incredible Southwest, Coachella anda Bonnaroo. team like an astoundingly incredible team right now in Dim Mak.


MC: With She & Him, is it difficult to carve out time in your individual schedules to make it happen? Ward: Itâ&#x20AC;&#x2122;s a matter of finding a few days here, a few days there. Magically it always happens. Youâ&#x20AC;&#x2122;ll always find time in your calendar for things you love to do and I think thatâ&#x20AC;&#x2122;s how it is with the She & Him project. Contact

â&#x20AC;&#x153;I would say all my influences are older, more classic songwriters.â&#x20AC;? #03/50"-04"/(&-&4 entertainNFOUGBNJMZ ;PPFZ%FTDIBOFMIBTXPSLFE steadily since her late teens, in films like Cameron Croweâ&#x20AC;&#x2122;s music intensive Almost Famous, Elf and (500) Days of Summer. The actress and singer, who was married to Death Cab for Cutiesâ&#x20AC;&#x2122; Ben Gibbard, considers herself an â&#x20AC;&#x153;old fashioned galâ&#x20AC;? with a penchant for screwball comedies and vintage clothing. â&#x20AC;&#x153;I would say all my influences are older, more classic songwriters,â&#x20AC;? Deschanel observes, â&#x20AC;&#x153;from Cole Porter and Gershwin to Carole King and Roy Orbison and Bobbie Gentry. People always expect you to be a fan of whatâ&#x20AC;&#x2122;s happening now, but the things I gravitate toward are older and more worn.â&#x20AC;? She says the reason She & Him works well is that it is neither she nor her collaborator M. Wardâ&#x20AC;&#x2122;s full-time gig. â&#x20AC;&#x153;We both make time for it and itâ&#x20AC;&#x2122;s not a high-pressure situation. Weâ&#x20AC;&#x2122;re not going, â&#x20AC;&#x2DC;Oh my god, we need to make it as a band!â&#x20AC;&#x2122; We do this because itâ&#x20AC;&#x2122;s fun. It comes out as a joy. Our method is to record a couple dozen songs, pick the ones where there was some sort of spark, and those make the record.â&#x20AC;?

ON OPEN EXHIBITI 2015 MAY 10, 4 1 0 2 3, CEMBER 1



January 2015 39

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40 January 2015


veryone knows the music business has changed radically, forcing labels and A&R execs to adapt to a new sonic ecosystem—one where music consumption has increased while music sales have dwindled. Now, multiple income streams and social media activity are essential components to any successful career. Likewise, those changes have affected how A&R scouts evaluate the signability of artists. Indeed, being considered a team player is more crucial than ever. To find out exactly how the “new normal” of today’s music industry affects an artist’s ability to get signed, we spoke with representatives of four prominent labels. Their insights will help you determine if you have what it takes to get label support.

David Wolter

With all the superstars on your roster, how does new talent get attention? This label has instituted an initiative to bring in new acts. We need new artists to keep our roster fresh. We might even develop artists in areas where they may need it.

Sr. VP A&R CALLED AN “A&R GURU,” David Wolter has been an A&R executive for 20 years––six of them with RCA. Previously he was Sr. Director of A&R at Virgin Records. Over the years Wolter has worked with a diverse range of artists, including Walk The Moon, Smallpools, Ray LaMontagne, Dave Matthews Band, the Strokes, Ben Harper, Three Days Grace and many others. RCA is home to an array of superstars, from Pitbull, Foo Fighters and Kings of Leon to Justin Timberlake, Pink, Alicia Keys, Shakira, Miley Cyrus and even “Weird Al” Yankovic.

How accomplished does an act need to be to get signed? It depends on what you mean by “accomplished.” I like acts who show initiative and make things happen on their own. I’m not interested in someone who simply makes music at home and does nothing else. If I see any activity that I believe has potential, I might take a risk and help develop them.

What is your signing process? That’s a trade secret. Every situation is different. I need to see some synergy––whether we see eye to eye. I’m brutally honest and if I don’t think it will work I won’t offer a deal. But, if I think otherwise I’ll go for it. Is there anything an act or rep could do that would turn you off? This is a hard business and every day it gets harder. I need to feel confident that there will be a team effort between the act, their team and the label. If I feel that they won’t pull their weight, I will pass on them. Are you looking for anything in particular? I just want to work with great artists who can maintain careers. I can help them reach that goal, but they have to work at it too. The days of a label doing everything, while the artist does nothing but music, are over. Now, everyone has to be involved to make it happen.

After 20 years in A&R, what has changed about your job? Ultimately, it’s still the same. I help artists with their artistic impression and how it is delivered. What has changed is how music is made. Artists now have more tools to record songs. They can record a song on their laptop and email it to me immediately. Before, they had to book studio time and FedEx a CD. New technology has been the game changer––and in some ways made my job easier. Has anything changed the way you evaluate acts? With the Internet there is much more information to consider. You can go online and see what’s happening with an act from different perspectives. You can see how they come across and how people respond to them and their music.

that’s limiting. I want to hear great music, see great performances and most of all sense a collaborative spirit. I love artists that make me ask, “What the fuck is that?”

Do you see any developing? Expectations have changed. Record sales aren’t what they used to be. Now, I’m happy if an act sells 500,000 records. If they sell a million, it shows they can actually have a career. Our focus

“I’m not interested in someone who simply makes music at home and does nothing else.”

With so much data online, are live showcases important anymore? For me, nothing replaces seeing an act perform live. If I’m interested, I want to see their live show and how the audience reacts to it. But, a live performance does not necessarily make or break a deal. If an act performs poorly, but has strong songs, they’ll still get my attention. You can always improve stage skills.

How important is social media activity? It’s very important. You want to see some sort of engagement and reaction. Social media allows us to see how artists connect with people and what they think of them. But, big numbers alone don’t influence me. I’m more impressed with how people react to the act and engage with them. What qualities do you look for in an artist? I don’t like to set up too many rules, because

has shifted to how music is being consumed. Radio still remains the biggest driver––especially at major labels. But, we’re also interested in how fans discover new music, whether it’s streaming services or somewhere else. How do you like to be contacted? Google me. If they can’t find my email address, or figure it out, they’re probably not ready for label attention. January 2015 41

Shawn Cohen

Manager & Director A&R

What are the special qualities you look for in an act? Originality is everything. I want to hear something unique and different. There are a lot of good acts out there, but many of them come across too generic. There’s nothing special about them that gets you excited. How accomplished does an act have to be to get signed? There is a certain level of success we look for. But, we would still invest in and develop an act if we think they have the potential to be big. Traditionally, Wind-up has developed many artists and that process doesn’t stop once an act gets signed. We’re always developing different aspects of their career and new marketing techniques. Do you have a courting period prior to signing? Yes. You need to form a relationship with artists and get to know them, and that takes some time. I have to be convinced that an act is right for the label and actually wants to be on our roster. Not all artists are label-ready. Some would be better off on a smaller indie or simply doing it themselves.

“We discover artists on the Web, check out their social media sites and look for performance videos.” FOUNDED IN 1997, Wind-up Records is one of the largest independently owned music companies in the world, and includes Wind-up Publishing and 251 Management. It has been responsible for breaking many multi-platinum and diamond artists and continues to develop a young roster of alternative artists. Shawn Cohen has been with Wind-up for four years. Prior to that he worked at RCA/Jive and A&M/Octone. Cohen is responsible for finding, signing and developing talent for Wind-up’s roster. Historically, Wind-up Records was known as a rock label––some even call it “the label that Creed built.” Are you maintaining that direction or expanding into other areas? We’re expanding and evolving. Our roster now includes a variety of styles, from rock and alternative to indie-pop. We don’t want to be tied to a specific genre. Today, music consumers like a variety of styles. Have the changes in the business affected how you evaluate talent? They have to a certain extent in that we have to be certain that an act fits the label. But, it still starts with the music and artists who have the goods. Some artists just want to focus on their art, while others want to have a career. And we have to determine if their aspirations complement our label’s vision and goals. How do you find new acts? The Internet helps us filter through a lot of talent. The old model of A&R going out to shows every night is over. We discover artists on the Web, check out their social media sites and look for performance videos. In fact, I discovered the Griswolds (who Cohen recently signed) on a blog. 42 January 2015

their music. People are also discovering music in new ways––often through streaming sites. Although there are some industry executives (and artists) that believe streaming hurts sales, I think it will eventually reconcile and compensation will evolve. How do you like to be contacted? We have contact information on our website. But we only accept submissions via Music Xray. We found that to be a cleaner and more organized process.

Edward Chmelewski

Co-Founder and President

IN 1977, Jerry Del Giudice and Edward Chmelewski founded Blind Pig Records in the basement of an Ann Arbor, MI blues cafe and club. Since then, it has grown into one of the world’s premier blues labels. A virtual who’s who of blues and roots artists have performed for Blind Pig at one time or another. Now based in San Francisco, the label releases several genres, including blues, roots rock, rhythm & blues, soul gospel and Zydeco. You’ve operated for 36 years––what’s the secret to your longevity? We love the music we put out. But, this is a tough business. When we started we didn’t take a paycheck for 10 years. I taught English at a University to cover expenses. But we were so

Is there anything an act or rep could do that would turn you off? Well, we have a “no asshole” policy. We want to work with proactive artists and reps who want to be part of a team. If everyone is not willing to do what it takes to be successful, it can get into finger pointing very quickly. And that doesn’t benefit anyone. What type of deals do you offer? We’re pretty creative. Every deal is different because it depends on the label’s goals and the artist’s expectations, which vary from act to act. We only sign a few acts per year as it is––anywhere from three to five. And we release eight to 15 records per year. Are you looking for anything in particular? I’d like to find alternative mainstream artists––

“We get a lot of demos and many are very good–but they’re also generic. And that just won’t cut it.” acts with radio friendly material and great live shows because touring is important today. Live performances connect with fans in a way that social media cannot. Do you see any trends in the business? Today fans want to “know” the artist as well as

determined to get this music out that my partner and I got industry jobs where we learned what we needed to do and how to do it. How do you evaluate artists? It comes down to the music and belief in the artist. I like artists who have something original

to say. I want to feel a spark—in the lyrics, the arrangements or their playing. It has to move me. We get a lot of demos and many are very good— but they’re also generic. And that just won’t cut it. How important are live shows and performance skills? They’re very important. We release the sort of music that’s meant to be heard live. Our genres require touring. In fact, with the demise of brickand-mortar retailers, we sell a lot of our product at live shows. Because of that, venues have become our new retailers. How important is social media activity? Well, our music attracts an older demographic, so it’s not as important as working with acts that attract a younger audience. However, I’ve noticed that acts that get involved with social media often get better results. What is your signing process? Actually, we initiate most contacts. Because we’re so established, we’ll hear about acts that are creating a buzz from promoters, festival producers and bookers. Then we’ll check them out and see what they’re up to. I like to see acts that are busy and playing a lot of shows. If they’re doing something that gets us excited, we’ll contact them and have a meeting. What do you consider before signing an artist? Before we sign anyone we try to gauge how cooperative they will be. Sometimes management can be a problem, because some managers take an adversarial approach that complicates everything. If they’re not willing to make it a real team effort, they usually do not sell many records or make much money. Besides, no one wants to work with a pain in the ass. What would keep you from signing an act? If they’re not willing to tour, I won’t work with them. You can have the greatest record ever recorded, but if you don’t tour I can’t sell it. We do everything we can to help acts on the road, but they have to want to do it. There are acts out there doing it—without a label or a booking agent. Obviously, they’re ambitious, and that’s one characteristic you need to be a success. You also need to be talented and have a little bit of luck to become a really successful artist. How do you help acts tour? We set them up with booking agents. We’ll do advance promotions and publicity: we set up interviews and promote radio airplay. We’ll do everything we can to make their shows sell out. What type of deals do you offer? We’re traditional and sort of old school. We don’t do 360 deals (i.e. deals that share in sales, publishing, merchandise, touring and sponsorships). More often, it’s a straight two to three record deal. Sometimes we might share in publishing, but that’s about it. Where do most of your sales come from? We sell way more physical product than digital. Fans of our genres like to have a physical product. So, we sell more CDs than downloads. We also offer vinyl if we think the act can move it—but it’s become more of a specialty item. Do artists really need a label deal today? With the Internet and all the tools artists have available to them now, they could go DIY and make money—up to a point. But, if they want to really advance their career, label support could be very helpful.

Are you looking for anything in particular? We’re always looking for new talent. But, we’re very picky. We have to feel passionate about the act and what we can do with them. If we believe they have great potential and will work with us, we’ll talk. How do you like to be contacted? They can email links to their website and music (no attachments). Mostly I want to know how active they are. Send the information to: info@

Rennie Jaffe

VP & Label Manager

RENNIE JAFFE HAS BEEN with Relapse Records for 10 years. Although the label (founded in 1990) specializes in heavy metal, it doesn’t focus on that style. In fact, the Relapse roster includes artists from a variety of genres, ranging from stoner and alternative rock to hardcore,

Where do most of your sales come from? Physical sales exceed digital downloads, probably because of the genres we work with. Fans of certain genres are more invested in the acts, and support them by buying CDs and merchandise. They want something they can own and hold. We used to release a lot of vinyl LPs, and they sold well. But, today, if I don’t think an act can sell at least 500 in vinyl, I won’t put them on vinyl. When we do, though, we offer a combination of colors for our vinyl releases—they’re really eye-catching. How do you find new acts? We get a lot of referrals from our roster acts. They’ll tell us if another act is worth checking out. We don’t really have any set parameters as to whom we’d be interested in. Everything goes before an A&R committee. And, if it turns us on, we’ll move on it. How accomplished does an act have to be to get signed? Relapse used to only sign acts that we could develop. That has changed, though, because of changes in the business. Now, the Internet allows us to know, pretty quickly, if an act will pop. In fact, we used to do three-record deals—now we might only do a one record deal just to see if anything happens. What type of deals do you offer? Historically, we offered traditional deals that included a three-album commitment, publishing and master ownership. But, that

“Now we might only do a one record deal just to see if anything happens.” grindcore, death metal, retro thrash and doom metal. However, the increasing popularity of extreme metal has made Relapse more mainstream, with acts on its roster appearing on magazine covers and getting videos broadcast on TV music channels, with some charting on the Billboard 200. How is your label different from other labels? We have our strengths and handicaps. We started as a niche label with extreme metal. And although we still release that style, we also cover other genres. Times have changed and so have we. We don’t really follow a strict point of view. We’ll get into anything that interests us and gets us excited. How important is social media activity? It’s hugely important and our artists have to be part of it. Our promotions department spends a large portion of their day maintaining social sites. Fans want to connect with artists, and social media is the way they do it. If an artist is not willing to put in a little time to connect with their fans, it can hurt their career. How important are live shows and performance skills? It can be a game changer, if their live shows are great. However, some of our most popular acts don’t tour. It’s more about the music. Metal fans, in particular, focus on the music and musicianship. So, they’ll buy CDs simply based on that.

has changed. Now, we’ll do one-offs and even licensing deals where the act retains ownership of their masters. It really depends on what the act wants and what will work for the label. How many acts do you sign each year? Typically we’ll sign five to six new acts per year, and release 25 to 30 new albums. Do you sign acts simply off their demo? That almost never happens—it’s very rare. If we are interested we’ll contact them, usually to let them know we enjoyed their music and ask them to keep us up-to-date on their activities and new recordings. What would keep you from signing an act? If an act has unrealistic expectations, that could be a problem. Also, if an act resists being a team player, that will turn us off. We’ve found that proactive acts are usually more successful. Do you see any new trends in the business? I believe CD sales will diminish, but won’t ever go away. In fact, I think we’re close to the floor now. Even with all of the digital retailers and outlets out there, we still sell more CDs than anything else. How do you like to be contacted? Artists can go to our website and get contact information as well as view an FAQ list. January 2015 43


How to Build Your Brand Identity With a Slogan or Tagline


hat do Apple, Ozzy Osbourne and hundreds of other successful companies and brands all have in common? They use brand slogans to build their identity, and now, so can you! Slogans provide further information about a brand, communicate an overall philosophy and increase memorability. They can even be used as part of your brand’s logo or to market a specific product or service, such as your own concert tour. Cypress Hill branded its Smoke Out Festival with the slogan, “An all-day mind altering event.” No confusion there. So let’s take a look at 10 useful tips for creating a slogan that can make a strong and lasting impression on your intended audience. Remember that they don’t have be grammatically correct, just short and sweet. Read on! 1) REFLECT THE IDENTITY THAT YOU WANT TO PROJECT To better communicate what you do and who you are, be sure to hint at the personality and culture you are trying to project within your slogan. For instance, to emphasize his punk roots and to pay homage to icon Iggy Pop, Henry Rollins used “Search and Destroy” as a slogan to accompany his logo. In fact, Rollins even tattooed the logo on his back and uses it on T-shirts and other merch. The Los Angeles metal indie band Clepto, which has Saudi Arabian roots, uses the slogan, “Thrash Punk Gypsies,” which sums up the band’s sound and spirit. 2) SPEAK TO YOUR AUDIENCE When creating your slogan, always remember to whom you are trying to appeal. Understanding your most-likely target audience is crucial. Get a sense for their age, gender, education level and income. Also, be sure to look into their activities, interests and opinions, understand behavioral issues and the things that motivate them. Think about the geographical regions in which they are located. The band House of Pain uses the slogan, “Fine Malt Lyrics,” directly in their logo to pay homage to its home city of Boston, and the predominately Irish folks who live there. 44 January 2015

3) STAND OUT FROM THE COMPETITION Be sure to study your competitors, those who may share a similar audience, and determine what makes you unique. Whatever that strength may be, use it as part of your slogan. Not only is the metal band Manowar listed in the Guinness World Book of Records as “The Loudest Band in the World,” it actually used the phrase in their marketing communications for many years. 4) STRESS THE BENEFITS Try to focus on creating a slogan that draws attention to benefits that are both important to your target audience and that you can

marketing tools, such as your business cards, websites, email signatures, etc. For instance, Bruce Springsteen has used, “The Boss,” interchangeably with his own name. 7) BE BELIEVABLE Whatever slogan you use, it can’t be something that your target fans see as being blown out of proportion. Proclaiming yourself “the greatest band on earth” when you’re just starting out is silly. Okay, so jazz legend Jaco Pastorius used, “The Greatest Bass Player in the World,” and the Rolling Stones adopted “The Greatest Rock & Roll Band in the World,” but they could certainly back it up. 8) OFFER AN EXPLANATION Use a descriptive tagline that tells people exactly what you are. For instance, the classic rock band ZZ Top uses the tagline, “That lil’ ol’ band from Texas,” all over its website and on other public relations materials. Billy Joel used, “The Piano Man,” in all his publicity and even released a record of the same name.

honestly provide. Apple, undoubtedly one of the biggest companies in music, used the slogan, “1,000 songs in your pocket,” to promote its first generation iPod and large storage capacity. Recently, it used, “Any kind of file, on all your devices,” to promote the cloud. Both slogans answer the customer question, “What’s in it for me?” 5) MAKE IT MEMORABLE If possible, make your slogan rhyme. Big band legend Benny Goodman used the slogan, “The King of Swing,” throughout his entire career, and it was often how he was introduced on radio and television shows. Of course, just be careful not to sound too “singsongy” or corny. 6) KEEP IT SHORT AND SIMPLE Limit your slogan to just one or a few simple words. Consider what might look cool, and be adaptable on your products and

9) DON’T BE CONFUSING Remember that the whole point of a slogan or tagline is to enlighten and educate your market about what you do, not to make things even more confusing for them. The four members of the Beatles, whose music was no doubt fabulous, adopted the “The Fab Four” for use in their publicity posters and other media. 10) ASK YOUR MOST-LIKELY FANS Ask your most-likely fans how they might sum you up in one word or phrase, how they think you’re different and what they feel is most important to them. You could even throw a contest and offer them a prize. You’ll not only form a closer bond with your fans by getting them involved, you just might end up with a really cool slogan or tagline that you can use to help brand your band.

BOBBY BORG is the author of Music Marketing For The DIY Musician: Creating and Executing a Plan of Attack On A Limited Budget (September 2014). The book is available on the Hal Leonard books website under “Trade Books” Borg’s website is

March 2014 45


In-Ear Monitors – Fact v. Fiction to the musician’s ears and may utilize multiple balanced-armature drivers. These features will drive up the cost considerably. MC: And you’re really saying that there’s no real benefit whatsoever to in-ears that cost five figures and in-ears like Etymotic’s ER-4’s, or even your least expensive mc5’s, for example. Carlson: Well, let’s put it this way: Etymotic approaches earphones in terms of accurate sound reproduction, so that what you hear is

picking up police calls through the PA in the middle of your best ballad…. Carlson: If you decide to go wireless, you’ll certainly face some challenges and additional expense. You’ll want to have a good monitor engineer. MC: Okay, but let’s just say that my guitar players are addicted to wedges, and making those guys go cold turkey scares me. What’s this about using electronic earplugs on stage? Carlson: There are many bands playing in venues where in-ear monitors just aren’t an option. Electronic Earplugs like Etymotic’s MusicPRO 9-15 series are often an ideal solution. Not only are you reducing loud, constant noise to safer levels, but they allow you to hear quiet passages and communicate onstage without having to remove the earplugs from your ears. Plus, they offer a blast-protection element to protect against sudden, extreme loud sounds like a burst of feedback, pyrotechnics, or the cymbal crash from an over-zealous drummer. JODY DOMINGUE


have good news. It doesn’t matter anymore whether you like or use wedge monitors or in-ears. As long as you wear electronic earplugs when using wedges, you’re good. You’ll be able to hear everything from the plaintiff cries of adoring fans in the front row to the keyboard player way stage right and not feel like your head is stuffed with cotton the next morning (and you’ve likely suffered the incremental, cumulative and irreversible hearing loss that has robbed Pete Townsend of a most precious sense in his dotage). And, if your front-of-house guy or gal can be made to mic the crowd and include it in the monitor mix coming through your in-ears, you lose nothing by wearing them. With today’s technology, it’s entirely up to you. Clearly, however, IEM’s allow for pinpoint control of what you hear on stage. And, while they take a little getting used to (if you’re new to the gear), the ability to put a fine tune on your mix is so worth it. After that, it’s about cost. Most stages come with wedges at no cost to you, although every stage is different and there’s the issue of consistency from venue to venue to consider. Using backing tracks and/or a click track? Better to use the inears. However, if you choose to use them, you need to come equipped with in-ears— unless you’re Steven Tyler and can walk in naked and charge every piece of gear and creature comfort you can think of to the tour or promoter. For argument’s sake, let’s just say you’re not Steven.

“Highly accurate earphones can be had for the same economical price as those that are juiced, so go with a pair that’s sonically ‘true.’”

Designated Drivers Walk with me and talk with Rick Carlson, Etymotic Research’s Manager of Product Training and Customer Service, as we sort a few in-ear myths and legends. Music Connection: In-ears can be superexpensive right? Taylor Swift has sparkly ones that look like they cost a fortune. Rick Carlson: Not necessarily. While you’ll see plenty of high profile musicians using rather expensive custom-fitted in-ear monitors, you can get the same benefits using a set of noise-isolating earphones with universal-fit eartips. Our mc5 earphone is a good example. You can get the benefits of 35-42dB of noise isolation and accurate sound reproduction for $59. MC: Okay, but a star like Ms. Swift can afford the best. They cost a lot more so they must be better in some way, no? Carlson: The in-ear monitors that you’ll see the big stars wearing are often custom-fitted 46 January 2015

as true to the source as possible. We have yet to see any evidence that adding multiple drivers does anything to improve the accuracy score of an earphone. When I talk to customers about in-ears and choices on the market, I’ll ask them: why do you need multiple drivers to fill a tiny space such as your ear canal? Adding additional drivers also increases the output capability of an in-ear monitor. Do you really want to put something in your ear that could potentially output 130 dB or greater? MC: And what about the custom molds? Those must cost a bunch and be a pain (literally) to get fitted for… Carlson: There are benefits to having custom earmolds, primarily for comfort and the ability to enjoy a consistent fit and seal, and getting ear impressions is not a painful experience at all. Etymotic certainly recognizes this, which is why we offer a Custom Fit Program for our earphones. However, custom earmolds aren’t necessarily fool-proof. Pay close attention to some of the folks onstage and you might catch them adjusting the fit of their custom earmolds mid-performance because they’re not sealing properly. Remember that custom earmolds are only as good as their initial ear impressions. Sometimes they need to be remade several times until the fit is just right. MC: There’s also the cost of a wireless pack and the risk of interference. Nothing like

MC: So, going back to IEM’s, you’re saying that custom molds cost less than the band’s beer bill, the fittings are a breeze, and some very high-profile acts are using Ety’s ready-fit tips right out of the box, so it’s really a matter of personal preference. You’re saying that a wellbalanced earphone will protect my hearing and give me a more accurate mix (as long as the engineer knows what he or she is doing) than wedge monitors. Carlson: Did I really say all of that? I’ll definitely agree with the second part: that a well-balanced (i.e., neutral) noise-isolating earphone can help protect your hearing on stage and let you hear more of what you need to hear, whether it’s your own instrument, vocals, etcetera. Well, there you have it. It’ll take a bit of doing to select the pair of in-ears you like best, but start by checking the ratings for accuracy. You want to hear what’s coming out of the board and not through earphones overloaded with bass, for example. Highly accurate earphones can be had for the same economical price as those that are juiced, so go with a pair that’s sonically “true.” Then, all you need is that talented monitor engineer. Good luck! PAUL IRWIN has been writing the In Tune Listening List and Frontrunner column for In Tune Monthly magazine for over a decade. He also records the Listening List podcast on, contributes the “Songs We Like” column for the Etymotic AudioFile e-newsletter and contributes to MusicAlive! magazine, among others.


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V 2:Hard Rockin’ Twins on a Fast Track


leven-year-old twin brothers Vittorio and Vincenzo Piazza have an early start on their music career with their two-man rock outfit V2 (pronounced “V squared”). The pair’s debut album We Are V2 was nominated in—and swept—seven categories at the 24th Annual L.A. Music Awards. The junior rockers blew away the audience with a twosong set from their debut, “We Are V2” and “Long Live Rock N Roll,” at the awards show held at The Avalon in Hollywood on Nov. 12. Such a decisive victory would be a heady experience for any band, be it young or old. But how do the brothers feel about it? “It was an honor just to be nominated and asked to play in front of all the other nominees and [the] music industry,” guitarist Vittorio observes. “It was the best day of our lives,” brother and drummer Vincenzo adds. “I hadn’t been that excited since I was seven and the Giants won their first World Series!” Awards are wonderful. But so is interest from an industry insider.

Awards. “I wasn’t nervous at the awards show,” Vittorio says. “I couldn’t wait to get up there and play.” Brother Vincenzo was less confident, but soon found his zone when the music kicked in. “I was a little nervous,” the drummer admits, “but once Vittorio started talking to the audience and tossed to me to announce the first song, my nerves were gone as soon as I hit the snare drum.” The first foray into the studio is an auspicious moment for any band. But what’s the experience been like for such a young act? “We’d only done live performances up to that point, so working in the studio was both easier and harder,” Vittorio explains. “It’s easier because we can do numerous takes so there’s no pressure to kill it on the first one. It’s harder because one song can take all day. But we now understand how it all works, so our next album will be easier and even better.”

“I wasn’t nervous at the awards show. I couldn’t wait to get up there and play.” –Vittorio

For V2, such a man was production veteran Ron Nevison (the Who, Led Zeppelin, Ozzy). He’d heard about the young rockers and came to check out one of their rehearsals. “He visited us at Rock Star University,” Vittorio recalls. “He said we were great and that he wanted to produce our first studio album.” Vincenzo adds, “A few weeks later, he was coming to our rehearsals every day and working with us, and then we went into the studio to cut our first album.” The pair credits Rock Star University (RSU), a rock/music education institution, as integral to their success. “Rock Star University helped us become great musicians and performers,” Vincenzo asserts. “We learned everything there. We wouldn’t have had the opportunities to learn and perform without it.” Education is one thing. But stage time is another. And it isn’t something so easily won as a budding rock band. But the brothers recognize the role RSU played in helping them feel comfortable on stage, especially when it came time to perform at the L.A. Music 48 January 2015

Though young people are notorious for their short attention span, this pair has made it work, mainly because they enjoy what they’re doing. “It’s fun,” Vincenzo observes. “But it’s also a lot of work.” Lessons learned early are likely the ones that serve the longest. What have been the important lessons for the brothers? “We’re only as good as our last rehearsal,” Vincenzo remarks. “And only practice makes perfect,” Vittorio adds. “Like the AC/DC song says, ‘It’s a long way to the top if you wanna rock & roll.’” The band is currently recording its follow-up record, Pass the Rock N Roll Torch. Like their debut, We Are V2, it is also being produced by Nevison. The boys are fans of AC/DC and hope to open for them on their 2015 tour. Contact, See

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49 49

Lost Coyote


Get Your Phil

The Veronicas The Veronicas


Smile Records/Something Music Producer: Brian C. Stewart

Sony Music Producer: Various

This is a fine collection of songs and one of the last collaborations with the late Phil Everly. Lost Coyote lead vocalist and guitarist Brian Stewart wrote a full-length album’s worth of tunes with the classic rock icon in 2012-2013 and it is a gem. A southwestern alt-country rock flavor permeates the overall tone, recalling everyone from Joe Ely and Steve Earle to Gram Parsons and Little Feat. When you get into the high octane material, like “Love is Like Money” or “My Guitar,” you realize the breadth and depth of Everly’s legacy. – Eric A. Harabadian

Australian sisters Lisa and Jessica Origliasso come back strong after a seven-year hiatus, and in those years they have shed their teen pop beginnings and matured into soon-to-be pop icons. Older fans of the Veronicas will appreciate the girls maintaining their rock roots, while pure pop tunes may snag the duo a few new fans. Despite cheesy lyrics that suggest a girl’s open diary, songs like “Did You Miss Me?” and “More Like Me” prove these girls still have fight in them. Standouts include the dancey “If You Love Someone” and the haunting ballad “You Ruin Me.” – Siri Svay

Joe Bonamassa

Papa Roach

Different Shades Of Blue


J&R Adventures Producer: Kevin Shirley



Eleven Seven Music Producer: Kevin and Kane Churko

Bonamassa has taken blues from the Black clubs that crisscrossed America, and re-fashioned it into an epic presentation. The album features “Hey Baby (New Rising Sun)” by Hendrix, and continues the stylistic path of past recordings. “Oh Beautiful” and “Love Ain’t A Love Song” deliver blue-eyed soul and expert guitar stylings. Bonamassa takes familiar tropes and serves them in a pristine package for the modern blues fan. Songs like “Heartache Follows Where Ever I Go” and “‘Cept The Blues,” are neo blues-rock with no hint of the culture from which it sprang. – Oscar Jordan

Thick as Thieves Love is Blind

Industrial Amusement Producers: Courtney Ballard; Nathaniel Motte; Chad Shlosser; James McAllister


Papa Roach have been through some difficult times and would like us to know about them. For their eighth studio album, the multi-platinum nu-metal/rap rockers take a confessional approach. Even the disc’s title, a tepid acronym for “Face Everything And Rise,” implies a spiritual rebirth through selfexamination. While the lyrics’ message remains praiseworthy, the group’s uplifting stance feels aimed inward, leaving the audience behind. And although the whoosh of their titanic crunch will ably grind your gears, just 10 tracks mean they’ve come up short. – Andy Kaufmann

Mary J. Blige

The London Sessions


Capitol Records Producers: Various

The first band signed to Wayne Kramer’s Industrial Amusement imprint, this sextet pretty handily blends rock, rap and pop. Songs such as “Burning House” and the title track spotlight stellar harmonies and some nice give and take between frontpersons Sunday Lane and Nick Richey. Conversely, some of the material seems a tad derivative or clichéd. But, this is a minor criticism as the band seems to take on a lot of musical terrain while, for the most part, establishing an identity. – Eric A. Harabadian

The longtime queen of hip-hop soul hops across the pond for a sensationally diverse, eminently grooving romp with the U.K.’s hippest artists and songwriters. Exec produced by Rodney Jerkins and featuring edgier than ever twists on her passions for pop, R&B and gospel, The London Sessions is a dramatic leap of faith that pays off. In a whirlwind 20-day period, she forged powerful creative connections with Emili Sandé, Jimmy Napes, Naughty Boy and Sam Smith. This means more deserved U.S. exposure for them and one of Blige’s most relevant sets in years. – Jonathan Widran

Parquet Courts

Aaron Watson

Content Nausea


The Underdog


What’s Your Rupture? Producer: Andrew Savage

BIG Label/Thirty Tigers Producer: Keith Stegall & Aaron Watson

Fast on the heels of their summer release, here’s an experimental EP/LP hybrid, primarily the work of frontmen Andrew Savage and Austin Brown. The album presents a band in crisis, foundering past the edges of adolescence, reckoning with their own technological contingency. Aside from familiar Parquet vibes (“Insufferable”) there are new sounds––industrial, hip-hop-infused instrumentals and spoken-word ramblings. Country covers (“Slide Machine”) and the closer, “Uncast Shadow of A Southern Myth,” buttress the album’s integrity like great exposed beams of the band’s past influences. – Ted Jamison

It is hard to believe that this is album number 12 for Texas-born country singer/songwriter Aaron Watson. But the road to stardom is a long one and you’ve got to stay the course, remaining true to your musical roots and writing from a place of truth. And truth can reveal itself in a number of different ways. Moods waver from “The Prayer,” inspired by Johnny Cash’s brush with suicide, and “Bluebonnets,” dedicated to his late daughter Julia, to sexy and lighthearted like “That Look.” Watson is a storyteller who classically and eloquently captures the human condition. – Eric A. Harabadian

To be considered for review in the Album Reviews section, you must have a record deal with a major label or an independent label with an established distributor. If you do not, please see our New Music Critiques section.

50 January 2015


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January 2015 51

Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

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Ameir Smith

Contact: Web: Seeking: Label, Film/TV Placement Style: Rock

Contact: Web: Seeking: Publishing, Label, Distrib., Film/TV Style: Gospel, R&B

With their artful, of-the-moment pop-rock profile, these guys’d fit right in between Coldplay and Imagine Dragons on radio playlists. Crunched to the max and drizzled with reverb, tracks like “Fallen Angels” glide atop a veritable wall of sound, and with chiming guitars and Sandro Cavazza’s rangey falsetto, it’s a treat to hear. “Summer” switches gears to a carefree surf-rock song replete with retro la-la’s and handclaps that boost the vitality. Everybody gets to showcase their talent, particularly the drummer and his consistently strong fills. Falsetto again shines on “Voice of the Ocean” where a nice, dreamy intro leads to a high-energy middle section. Labels and film/TV peeps should pounce.

Smith is commanding on every track here, even with the strong contributions from his backups, including kids and adult choirs. “Make No Mistake” opens with an atmospheric intro and a hint of hip-hop, which turns out to be a trademark of this artist whose gospel is nothing if not relevantsounding. Lyrics, while praise-centric, are never so specific they can’t be universal. “The History” is a bit heavier and resolves with a neo-reggae vibe. Soul-searching “Come & See” is introspective, with Smith convincingly depicting his struggle to lead a blessed life. The tune’s soothing siren blends of a choir react to him in call-andresponse fashion, showing that this artist can be a force in his chosen genre.

Production Lyrics Music Vocals Musicianship

8 8 8 9 8

Stephen Hunley

Cassandra Michaels

Contact: Web: Seeking: Film/TV, Booking, Label Style: Blues, Pop/AC, Soul, Jazz

Contact: Web: Seeking: Label, Film/TV, Mgmt, Booking Style: Pop/Urban

You can hear an old-soul sensibility in Hunley’s raspy voice, and he has mounted a classy album project to enhance it, with contributors that include classic countrypop producer Billy Sherrill. On “Oklahoma,” the singer presents an absorbing, bittersweet scenario of life’s missed opportunities. The song’s arrangement builds deftly and swells to a yearning pitch that Hunley delivers with range and resonance. His jazz/R&B side oozes out in the breezy, upbeat “The Other Side of Never” showing an ability to make you feel his words. “Love You In The Dark” is straightahead folk-pop with a Nashville tonality to the backup singers. Hunley has a polished product; a voice and sensitivity that women will embrace.

Lots of skill and musicality in these tracks from Cassandra Michaels, and despite too much reverb on “Next To Me,” the song emits an epic-soundtrack tone that we like. We’d love to hear the artist develop this song further, building its drama to a satisfying climax. A mood piece with layered vocal blends in the bridge, “Worth the Fall” is melancholic and elegaic, with less reverb, allowing Michaels’ voice (here with a Carrie Underwood edge) more space. Best of all is the defiant put-down song “Betty Boop,” whose galloping pace marshals its energy for an exciting finale. Film/TV folks might be attacted to these songs, and Michaels might consider shopping her pop-centric material to other artists.

Production Lyrics Music Vocals Musicianship

9 7 7 8 8


Golden Novak Band

Contact: Web: Seeking: Booking, Film/TV, Label Style: Group Vocal, Pop

Contact: Web: Seeking: Booking, Film/TV Placement Style: Americana, Rock, Folk

Self-described “pop throwback” act have a buoyant, eager-to-please style that touches upon past eras in this theatrically satisfying batch of original songs. “I’m Taking You Home” epitomizes the group’s big, wide, kinetic sound, one which puts a clean spin on sexual subject matter. Ditto for “Bad Reputation,” an uber-catchy tune where the group (with a nod to Backstreet Boys) comes on like a powerful gust of good feelings. “Frequency” is full of funky sass and swagger, showing a more ‘80s influence all around. No doubt this group can fill a live stage with lots of dynamic movement and crowdpleasing fun. On record, however, we find the group vocals much more exciting than each member’s solo turns.

Duo of Jess Novak & Brian Golden from Syracuse, NY, present folk-blues material that will appeal to genre fans who will be drawn to Novak’s throaty, resonant vocal tones and Golden’s agility on the frets. Recorded live, “Stand” is far from the duo’s best outing. We suggest they remove this subpar recording from their site. “Let It Shine” and “New Song,” however, show what a full band of seasoned backup players can add. The first song’s vocal duet set-up is effective and the pedal-powered guitar solo is the highlight. The latter song, Novak’s ballad, is easy on the ears, proving herself a soulful presence at the mic. We could hear this relationship-themed tune making it onto a Liftetime network TV show.

Production Lyrics Music Vocals Musicianship

8 7 7 8 8

Music Connection’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. 52 January 2015

Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

8 8 7 7 8

8 7 8 7 7

8 6 7 7 8

Blaise Guld

The New Fortune

Contact: Web: Seeking: Film/TV, Distribution, Booking Style: Singer/Songwriter

Contact: Web: Seeking: Booking, Film/TV Style: Rock

Guld exudes humanistic vibes and is clearly in search of something above the norm. Delineating the initial mysterious connection of a man to a woman, “Song On The Water” will resonate with stoner chicks, according to one of our committee members. Some of us, on the other hand, feel that Guld’s voice is unremarkable on that cut, preferring his husky rasp on “Running In Places” and, his best tune, “Little Miss Escape Artist,” which starts as an amiable Jack Johnsonesque tune before conjuring an ominous carnival atmosphere with an eerie, whistling chorus. We love its line, “my prison is your kiss.” Guld is game for mixing things up and we hope he’s able to pull his distinctive vision into better focus.

Here’s a super-disciplined quartet whose “Summer’s Gone” presents bouncy, energetized pop-rock. We just wish the band sounded a little less robotic and wound-up, more human. Toss a grace note in there, guys. The ballad, “Fending For Yourself,” is a bit less tightly-wound and shows the drummer’s repressed finesse and frontman Alex Flagstad’s ability to sing romantically. The band veers out of its pop-rock comfort zone with “Won’t Be Alone” whose spare, folkish, Nick Drake-like first half abruptly yields to an almost proggish aggression— which while artistically interesting might be commercially problematic. The New Fortune is a promising act whose sound is still developing.

Production Lyrics Music Vocals Musicianship

8 7 7 8 8

Gym Beam

The Watanabes

Contact: Web: Seeking: Label, Film/TV, Distrib., Booking Style: Hip-Hop

Contact: Web: Seeking: Film/TV Placement Style: Alt. Pop Rock, Indie Folk Pop

Beam’s recordings have a lo-fi, mixtape-y vibe that works for him and his well selected producer collabs, who each brings a fresh flavor to the party. On “The Vent,” he establishes his just-flows-and-breaks formula, and we like how he uses a sampled female R&B singer as his song’s hook. “Gutter Ground” uses a familiar Chappelle’s Show clip, and a fresh staccatto beat (along with ascending and descending keyboards) to propel a song about Beam’s “struggle in the jungle.” The moody, slower song “Knock On Wood”ultimately proves Gym Beam to be consistent as a rapper, but that may be his main weakness at this point in time—though his beats vary, his own flow rarely does.

Flaming Lips fans will probably appreciate the nerdy pop-rock sensibility at play with this Tokyo-based quartet, and will appreciate the hooky melodics at work despite the generally murky production quality of the recordings. The light, carefree “There’s Something Wrong” has a familiar guitar hook and establishes the band’s classic jangly alt-pop aura. Catchier is “Drench You In Sun,” which is memorable for its melancholy and the integration of horns, mandolin and more. The band’s Brit accented vocal and overall innocence is affecting on “Yuriko Yuriko.” Aided by a subtle use of banjo and accordian, it showcases the band’s ability to craft a vivid story song.

Production Lyrics Music Vocals Musicianship

7 7 8 7 8


The Roomsounds

Contact: Web: Seeking: Booking, Film/TV Style: Hip-hop

Contact: Web: Seeking: Label Style: Southern Rock

S.F. area duo NjS have an international vision that incorporates Japanese verses in each tune. “Starting Fresh” typifies the sound––crafty songs, high production values, positive messages, but a stilted, whitebread flow by the English language rapper that does no good for the act’s U.S. street cred. “Most Definitely” is a catchy tune enhanced by an insistent bassline and flutes that float on a breeze of synth strings. Like the previous two songs, “I’m Me” suffers from an unimaginative, sing-songy flow at the mic, but impresses us with the track’s musicality, including a catchy keyboard element. We wonder if their heavily Japanese language profile automatically marginalizes NjS from the overall hip-hop audience.

Dallas-based, the Roomsounds revere the classic southern rockers, and the quartet’s “Lay My Head Down” rides that template in a laidback tune that, while crisply performed, seems to be lacking in energy. Even in the breakdown, no one steps up with vibrancy. Could it be the band was cowed by the fact that they were recording in the historic FAME Studios in Muscle Shoals? In any case, “Stray Dog” is similarly nice but again lacking, hampered by lead vocals from Ryan Michael that are not all they could be. Which is why “Couldn’t Break My Spirit” proves such a revelation. Its great slide guitar tones and bolder, blues-rockin’ profile demonstrates the flavors this band is really capable of.

Production Lyrics Music Vocals Musicianship

7 7 7 7 7

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 All submissions are randomly selected and reviewed by committee. January 2015 53

The Viper Room

West Hollywood, CA

Material: Soul and rock collide in Imani Chyle’s hard-hitting music. Her fierce attitude transmits through personal lyrics delivered with gritty intensity. The menacing riffs and tight-knit rhythms match her growling vocal lines that channel old school rap and R&B. “Lose Myself,” which differs from the cathartic energy of the other material, is Chyle’s most successfully composed song. A funky bass line and beat make the song danceable, similar to “Doin’ It My Way,” a smooth, groovy tune with enchanting guitar chords that echo in the background. The call and response in the choruses hearken back to classic soul tunes and make them catchy. Musicianship: Chyle sings passionately and attacks her vocals, but struggles to hold lower register notes. White and Beddingfield hold down backup harmonies, which enhance the choruses, but Beddingfield could inject more girth into his vocals. Noble walks a consistent stride on the bass that melds with Palmer’s tight, pocket playing. Palmer has flashy tricks befitting of rock and roll but doesn’t overplay. Azar shows dynamic laying down grizzly riffs and gentler, melodic chords. Performance: The singer and company commanded the audience with soulful energy.

House of Blues


Contact: Web: The Players: Imani Chyle, lead vocals; Alan Azar, guitar; Miah Palmer, drums; Eric Noble, bass; Allen Beddingfield; backup vocals; Danielle White, backup vocals.

IMANI CHYLE Beginning with “Soul & Rock N Roll,” a song epitomizing her sound with a mellow verse that transitions to a thrashing chorus reminiscent of Rage Against the Machine, ignited the fire that burned for the rest of her set. As her set progressed, Chyle could not make smooth transitions from intense rapping verses to the cleaner chorus melodies. The backing band was clearly well-rehearsed, but occasionally drowned out the backup harmonies during the verses. “Doin’ It My Way” slowed down the pace and Chyle showcased her higher register. Towards the end of the song, however, her voice became hoarse, which affected the rest of the songs. Her passion never wavered, though,

and she continued to sing her best despite her tired vocals. The audience responded positively to the groove on “Lose Myself,” but vocalized the fact that the artist wasn’t annunciating her lyrics. Chyle and the band ended on a high note with “Warrioress,” a hard, rocking song rich with heart and grungy riffs. Summary: Chyle has developed a unique sound and has shown potential with “Lose Myself” and “Doin’ It My Way.” Writing more songs in that vein will attract a larger audience, but she needs to practice her vocals so her performances measure up to the recorded material.—Vincent Stevens

West Hollywood, CA

Material: Storytelling is intrinsic to country music, and Mark Mackay’s tunes revolve around autobiographical tales. The staccato banjos, twangy Fender Telecaster tone and a deep southern drawl work together like biscuits and gravy. “Call It Good” and “Pick Up The Pieces” are the standout tracks in his catalog because of their energy and dynamics. The former breaks down to a calm before a catchy, rocking chorus, and the latter’s arpeggiated banjo riff travels over distorted chords, while a classic hoedown beat drives it home. Unlike his country rock songs, slower material like “Better In Love” or “Come Along For The Ride” lacks the same passion. Musicianship: A competent guitarist, Mackay tastefully finds a home for his licks. He has some flash, but doesn’t overplay his welcome. He could, however, add some girth to his vocals to sound more confident. Monnett’s gentle steel guitar riffs paint romantic backgrounds to complement Langham’s intense strumming patterns. Langham and Mackay trade licks and match up nicely. Brewer lays down basic lines, which could be livelier. He could attack his parts like Carter, 54 January 2015

MARK MACKAY who plays with excellent dynamics, which work for the ballads and heavier songs. Performance: Mackay hammered out a set of originals, with a lively cover of Jason Aldean’s “When She Says Baby” thrown in. Unfortunately, the cover was the climax of the set. If Mackay could harness that energy and apply it to his own material, which is wellwritten and easy to sing along to, he would be well on his way. On every song, Mackay or Langham played twangy, vibrato-filled solos that melded beautifully with the music. “Pick Up The Pieces” got the crowd moving and Mackay


Contact: Web: The Players: Mark Mackay, lead guitar, vocals; Joe Langham, guitars; Des Brewer, bass; Matt Carter, drums, backup vocals; Vern Monnett, steel guitar.

injected some passion into the song. Although Carter sang backups, adding another voice would richen the sound. Fortunately, Carter’s heavy foot and pocket playing solidified the rhythms, because Brewer was drowned out the entire set. Summary: Mark Mackay is a crafty songwriter, but more assertive vocals would liven the material. Country rock is where he thrives with his compelling lyrics that tell stories and connect with the listener. Revamping and energizing the slower material will complete this artist’s sound. –Vincent Stevens


The Future of Rock N Roll… Vittorio and Vincenzo of V2 Download their Award Winning Album at January 2015


The Viper Room

West Hollywood, CA

Contact: Debbie Pressman, Web: The Players: MC Frontalot, emcee; Gm7, keys; Blak Lotus, bass guitar; the Categorical Imperative, drums.

Musicianship: Frontalot has a voice that confidently annoys. It’s a monotoned instrument, with little hint of dynamic range, but if this frontman could get the right lyrical guidance and a manner makeover, he could develop a unique flair that may appeal to a broader audience. As performers, his group is a tight, rehearsed act; each member stays in his lane. Frontalot directs while the band follows his lead. Sonically, they are proficient at their craft. Performance: At this show, the group’s audience was a mixture of those who nodded their heads while others carefully listened to

Perfect Pitcher/Dirty Spyders


the lyrics, suspiciously analyzing Frontalot’s approach. His keyboardist brought this performance to an alternative level, serving as a good counterpart to the frontman. Drummer Categorical Imperative was solid, but in the background, whereas the guitarist rocked out, semi stealing the show. During breaks between songs, Frontalot spoke with strange verbiage, leaving the majority of listeners puzzled.


Material: What do you get when you mix hiphop, electronic and swing music? You get a Revenge of the Nerd, rap’s version of Lewis Skolnick. It is a cheesy gimmick, yet original, something that has already helped draw a bit of a cult following. Typifying Frontalot’s unusual material is a song called “Tongue-Clucking Grammarian,” about the pitfalls of bad grammar: “Quit arguing! You need your verbs to agree/ With their subjects’ relative plurality/And I cannot believe grad school let you go/When flunking is the only present participle that you know.”

Summary: MC Frontalot and company deliver disposable music. One wonders if people are paying attention strictly to the music or to the interesting way the group, as a live act, present themselves. Trends come and go, but style lasts forever; and at this point MC Frontalot is making music for those willing to listen only temporarily. – Adam Seyum

Taylor, MI

Contact: Web: The Players: Tommy T. Harman, lead vocals; Hot Rod Tusek, guitar, backup vocals; Elrod Deluxe, bass; Nik Savage, drums, backup vocals.

Musicianship: Each member of Screw is a veteran of the Detroit and Midwestern music scene. Their stage setup is pretty bare bones and typical for a band of this type. Hot Rod Tusek wields a mean lead guitar and, except for kicking in a wah-wah pedal for occasional color, creates a huge blanket of grit and rhythm between himself and his amp. His single-note lines are razor sharp, with a tasteful balance of warmth and midrange. Elrod Deluxe’s bass not only locks in tightly with Nik Savage’s supple drumming, but he creates an active and danceable mix of counterpoint and low-end thump that is thick and rich. Last, but certainly not least, frontman Tommy T. Harman delivers lyrical vitriol, with a blend of passion and humor. His vocals cut through the metallic fray and shine brightly, with a crooner’s panache. 56 January 2015


Performance: The wise men say go big or go home. That was, indeed, the case here. The band played to a relatively small crowd, but you would never know it. They came out guns blazing from the very first note and kept a frenetic, yet measured pace throughout their set. Harman was a gracious frontman; sharing the spotlight with guitarist Tubek and acknowledging people in the crowd between songs. He was also darting all around the stage and gave an arena-worthy performance in the process. For an encore they came back with


Material: Screw plays original rock & roll that draws from classic punk and hardcore sources, such as the Stooges, MC5, Misfits, Bad Religion, etc. It is music with a groove that is raw and immediate, yet extremely melodic, with subtle harmonies. Tunes such as “Bottom Feeder” or “Dance with Me” have strong hooks and relentless beats. Most of the band’s songs clock in at a little over the three minute mark, with a common thread of verse, chorus, verse, chorus, solo and out.

the Stooges’ “No Fun” that was faithful to the original, but liberating in its own right. Summary: Screw plays like its namesake; straight, to the point, with a stylish sense of double entendre. They are all accomplished musicians and have a sound with contemporary marketable value. The band could spice things up with a selective ballad or textural piece but, overall, what they do, they do very well. – Eric A. Harabadian

January 2015


The Bootleg Theater Los Angeles, CA

Material: Alexz Johnson has developed a cohesive sound comprising indie rock and neo-folk elements with a rich, soulful undertone. Reminiscent of the Kills or the Black Keys, Johnson’s music possesses individuality and can contend with her contemporaries. “Let ‘Em Eat Cake,” the title track on her album, showcases Johnson’s experience as a songwriter with its healthy injection of wah-wah echoes and a gospel inspired organ riff. The dynamics in the music parallel the emotional tone of the lyrics, which are often a rollercoaster ride of love heartbreak. It is on her slower material, like “Nothin’ On Me,” that she unleashes her high-pitched, Rod Stewartesque rasp. Musicianship: Johnson’s vocal control is highly commendable. She never wavers on a note, from the lower register to raspy howls. The harmonies from the other band members richen the sound, especially during the choruses. Her rhythm guitar playing is solid, which makes room for Droney to add delayed, twangy chords. Butler injects that soulful component with his keys, while McCammon and Garrison Johnson, who has impeccable time, hold down the rhythms.


Performance: Heartache lingered in the intimate room at the Bootleg as Johnson seduced the audience, always leaving them desiring more. Johnson eased into the set with a few mellow songs, replete with enchanting chords and vibrato, before grooving into “Ruthless Love,” a neo-folk tune driven by a hammered out sixteenthnote beat. By that point, the band jived and established a charismatic chemistry, but Johnson remained in command. “Nothin’ On Me” and “Thank You for Breaking My Heart” shined the spotlight on her soulful growl, all the while Butler jazzily


Contact: Web: The Players: Alexz Johnson, lead vocals, guitar; Patrick Droney, guitar, backup vocals; Maxwell Butler, keyboard, backup vocals; Kyle McCammon, bass, moog, backup vocals; Garrison Johnson, drums, backup vocals.

grooved on his organ keys. While the band was clearly well-rehearsed, Butler and Droney could incorporate solos to enhance songs like “I Will Fall In Love” or “Heart Turns Back” and to brighten the performance altogether. Summary: Alexz Johnson is an accomplished singer and natural songwriter. Her music appeals to a large demographic and is very radio friendly. Her upbeat songs, like “Voodoo,” catch on quickly but lack the soulful edge that makes her slower material signature and vivacious. –Vincent Stevens

Joe’s Pub New York, NY

Material: Jay Nash and Josh Day met over a decade ago in Los Angeles. Discovering they had similar musical tastes, their collaboration seemed inevitable. They have joined forces with their brand new EP Meet the Contenders. The songs are Americana at the heart of it, but contain elements of straight-ahead rock. True to the storytelling model that Americana often draws from, “Lincoln 1958” is set to a haunting arpeggiated guitar line that immediately pulls you in although to a somewhat vague storyline depicting a dark, possessive and controlling male character. The words sit nicely on the music but more specifics as to why the relationship is shrouded in darkness or why this woman is drawn to this man would be even more compelling. The title track (deriving from the band’s name) is an up-tempo countryesque creation in cut time with a soulful message that captures the spirit of rugged individualism and perseverance in the face of opposition. Musicianship: Nash and Day have been described as musicians' musicians and rightfully so. They are true to their musical influences and are driven by the song. Nash is lead vocalist with a style reminiscent of Tom Petty and a vocal timbre close to Bruce 58 January 2015

THE CONTENDERS Springsteen. Adding Day to the mix fills out the duo sonically, suggesting a larger band on stage. They harmonize well, rounding out the vocal landscape. Performance: Showcasing their sense of humor, the duo often made quips about how they were under-rehearsed, which was charming one time but after several mentions it seemed incongruous with how well they actually performed. No one would have suspected it if it hadn’t been pointed out, since their collective experience as performers stood them in good stead. Overall this act demonstrated a strong mutual connection and subsequently engaged the packed room of listeners. Fans got more than their money’s


Contact: Web: The Players: Jay Nash, guitar, vocals; Josh Day, drums, backup vocals.

worth; a couple of songs less would have still left them satisfied, especially since the majority of the music had a similar vibe. They did, however, play two full-out rock songs, which brought more dimension to the set. Summary: Jay Nash and Josh Day, both skilled and experienced performers, have succeeded in pulling off a fuller band sound with only two musicians. Though seemingly comfortable on stage they could rein in some of their between-song chat, perhaps designating one of the two as the “go to” front man. Cutting two or three songs from the set would make for a tighter show since the sound doesn’t differ drastically from song to song. – Ellen Woloshin





THE SATELLITE 1717 SILVER LAKE BLVD JANUARY 13 2015 8:30 PM • $10 • 21+


January 2015


Annual Directory of


Here’s our latest list of record label talent scouts, giving you names, phone numbers, web info and roster details of majors and indies who actively seek new artists for their companies. All 2015 updates have been supplied by the listees. 00:02:59 LLC PO Box 1251 Culver City, CA 90232 718-636-0259 E-mail:, Web: 1-2-3-4 GO! RECORDS 420 40th St., Ste. #5 Oakland, CA 94609 510-985-0325 E-mail: Web: Styles/Specialties: rock, punk 4AD RECORDS 2035 Hyperion Ave. Los Angeles, CA 90027 E-mail: Web: Roster: The National, Blonde Redhead, Deerhunter, Efterklang, St. Vincent, Bon Iver, the Big Pink, Camera Obscura Styles/Specialties: rock/indie Additional locations: 304 Hudson St. New York, NY 10013 17-19 Alma Road, SW18 1AA, UK 18TH & VINE RECORDS ALLEGRO MEDIA GROUP 20048 N.E. San Rafael St. Portland, OR 97230 503-491-8480, 800-288-2007 Web: Styles/Specialties: jazz, bebop, soul-jazz 21ST CENTURY STUDIO Silver Lake, CA 323-661-3130 E-mail: Web: Styles/Specialties: rock, folk, ethnic, acoustic groups, books on tape, actor voice presentations Burt Levine, A&R A389 RECORDINGS P.O. Box 12058 Baltimore, MD 21281 E-mail: Web: Styles/Specialties: hard rock, metal AARON RECORDS P.O. Box 428 Portland, TN 37148 615-325-3340 E-mail: Web: Jim Case, A&R ABET MUSIC 411 E. Huntington Dr., Ste. 107-372 Arcadia, CA 91006 866-574-0275 Web: Styles/Specialties: electronica, acoustic, ambient, chill, rock, alternative, world and classical ACCIDENTAL MUZIK, INC. 323-316-4932 E-mail:, accmuz@ Styles: alternative, latin, rock, acoustic, indie *Please request via email to submit material Adam Moseley, A&R ACTIVATE ENTERTAINMENT 11054 Ventura Blvd., Ste. 333 Studio City, CA 91604 818-505-0669 E-mail: Styles/Specialties: Country, urban, rock & EDM James Arthur, A&R A-F RECORDS P.O. Box 71266 Pittsburgh, PA 15213 E-mail: Web: Styles/Specialties: punk rock *Accepts unsolicited material Pat Thetic, A&R

Chris Head, A&R Justin Sane, A&R AFTERMATH ENTERTAINMENT (Interscope Records) 2220 Colorado Ave., 5th Fl. Santa Monica, CA 90404 310-865-7642 Fax 310-865-7068 Web: Styles/Specialties: hip-hop, rap, urban, contemporary R&B *No unsolicited material Andre Young (Dr Dre), President

API RECORDS P.O. Box 7041 Watchung, NJ 07069 E-mail: Web: Styles/Specialties: classical, pop-rock *We do not accept unsolicited submissions

ALIAS RECORDS 838 E. High St., #290 Lexington, KY 40502 E-mail: Web: Styles/Specialties: indie-rock, singersongwriters, electronica Distribution: Morphius, Carrot Top, iTunes, IODA *No unsolicited material Delight Jenkins, Owner

APPLESEED RECORDINGS P.O. Box 2593 West Chester, PA 19380 610-701-5755 E-mail: Web: Styles/Specialties: AC *accepts demo submissions, see website

ALLIGATOR RECORDS 1441 W. Devon Ave. Chicago, IL 60660-0234 773-973-7736 E-mail: Web: Styles/Specialties: blues, roots, contemporary blues *Unsolicited material accepted. Maximum four songs per demo, seven-month backup in replying. Will not accept inquiries or phone calls regarding the receipt or status of submissions. Bruce Iglauer, President

ASTRALWERKS 150 5th Ave. New York, NY 10011 E-mail: Web: Styles/Specialties: electronic, dance, alternative, techno *No Unsolicited material accepted. Ryan Murphy, Director A&R Jeremy Vuernick, Sr. Manager A&R

ALTERNATIVE TENTACLES P.O. Box 419092 San Francisco, CA 94141 510-596-8981 Fax 510-596-8982 E-mail: Web: Styles/Specialties: punk rock, spoken-word, underground *ONLY accept physical demos-audio CD, vinyl, DVD or cassette. No electronic demos or links to websites. Jello Biafra, A&R A&M (UMG) 2220 Colorado Ave., 5th Fl. Santa Monica, CA 90404 310-865-1000 Web: Styles/Specialties: pop, rock, alternative, metal *No unsolicited material A&M-OCTONE RECORDS (See Interscope-Geffen-A&M-UMG) AMATHUS MUSIC P.O. Box 95 Hewlett, NY 11557 E-mail: Web: Styles/Specialties: dance, electronic, pop AMERICAN EAGLE RECORDINGS 13001 Dieterle Ln. St. Louis, MO 63127 888-521-8146, 314-965-5648 E-mail: Web: Styles/Specialties: country AMERICAN LAUNDROMAT RECORDS P.O. Box 85 Mystic, CT 06355 860-460-8903 E-mail: Web: Styles/Specialties: indie rock, tribute compilations *We do not accept unsolicited materials Joseph H. Spadaro, Founder & President AMERICAN RECORDINGS (Republic Records/Universal) Styles/Specialties: all genres *No unsolicited material Rick Rubin, President

ARISTA NASHVILLE (See Sony Music Nashville)

ATLANTIC RECORDS (Warner Music Group) 3400 W. Olive Ave., 2nd Fl. Burbank, CA 91505 818-238-6800 E-mail: Web: *No unsolicited material Michael Caren, President, A&R Sam Riback, Sr. VP A&R Maureen Kenny, Sr. VP, A&R ATLANTIC RECORDS GROUP 1290 Ave. of the Americas New York, NY 10104 212-707-2000 Web: *No unsolicited material Pete Ganbarg, Head of A&R ATO RECORDS 44 Wall St. 23rd New York, NY 10005 212-422-4280 E-mail: Web: Styles/Specialties: All Genres: pop, rock, acoustic rock, indie *Demo Submissions will only be accepted by mail Will Botwin, President/CEO AUTHENTIK ARTISTS 714-321-1471 E-mail: Web: Scott Austin, CEO/Creative Director AWARE RECORDS 800 18th Ave. S., Ste. C Nashville, TN 37203 615-864-8043 E-mail: Web: Styles/Specialties: rock *No unsolicited material Steve Smith, VP A&R BACKROADS RECORDS 209 10th Ave. S., Ste. 332 Nashville, TN 37203 615-733-9983 E-mail: Web: Roster: Bubba Sparxx, Moonshine Bandits, Charlie Farley, The Lacs Styles/Specialties: country rap BA DA BING! RECORDS 181 Clermont Ave., Apt. 403 Brooklyn, NY 11205 718-360-5561 E-mail:

ANTI2798 Sunset Blvd. Los Angeles, CA 90026

C O M P I L E D 60 January 2015

213-413-7353 E-mail: Web: Styles/Specialties: indie rock Brett Gurewitz, Owner




Web: Styles/Specialties: Really weird stuff that can still make you cry BAD BOY RECORDS Subsidiary of Warner Music Group Bad Boy World Entertainment Group 1710 Broadway, 6th Fl. New York, NY 10019 E-mail: Web: *No unsolicited material Sean Combs, CEO BAR/NONE RECORDS P.O. Box 1704 Hoboken, NJ 07030 201-770-9090 E-mail: Web: Styles/Specialties: indie rock *Unsolicited material accepted Emmy Black, A&R BARSUK RECORDS P.O. Box 22546 Seattle, WA 98122 E-mail: Web: Distribution: ADA/WEA Styles/Specialties: Indie Rock *No unsolicited material Josh Rosenfeld, President BEGGARS GROUP (XL Recordings, Beggars Banquet, 4AD, Matador, Rough Trade, Young Turks) 304 Hudson St. 7th Fl. New York, NY, 10013-1012 212-995-5882 E-mail: Web: Styles/Specialties: indie-rock, pop, electronic and many more Roster: Badly Drawn Boy, Tindersticks, Mojave 3, the National, Electrelane, Peaches, Natacha Atlas and more Distribution: ADA Additional location: 2035 Hyperion Ave. Los Angeles, CA 90027 323-663-0607 BIELER BROS. RECORDS 4100 N. Powerline Rd. #U5 Pompano Beach, FL 33073 954-979-4781 E-mail: Web: Styles/Specialties: hard rock, metal *Accepts unsolicited material, EPK only Jason Bieler, Owner Aaron Bieler, Owner BIG DEAL RECORDS 4658 Wortser Ave. Sherman Oaks, CA 91423 818-789-4483 Web: Styles/Specialties: rock, pop, AC Distribution: Ryko *No unsolicited material Henry Marx, President/CEO Bill Dern, GM/Head of Business Affairs BIG NOISE 11 S. Angell St., Ste. 336 Providence, RI 02906 401-274-4770 E-mail: Web: Styles/Specialties: artists have included Christina Aguilera, AJ Flow, Chantal Ambrloise, American Idol, A. Michelle, the Accomplice *Currently accepting demo submissions. Please call or e-mail first. Al Gomes, A&R BIG MACHINE LABEL GROUP 1221 16th Ave S Nashville, TN 37212 E-mail: Web: Roster: Florida Georgia Line, Taylor Swift, The Band Perry, Brantley Gilbert, Cassadee Pope, Reba, Raelynn BLACKHEART RECORDS 636 Broadway

Download at New York, NY 10012 212-353-9600 Fax 212-353-8300 E-mail: Web: Styles/Specialties: all styles *Unsolicited material accepted, attn: A&R Dept. Zander Wolff, A&R BLIND PIG RECORDS P.O. Box 2344 San Francisco, CA 94126 415-550-6484 Fax 415-550-6485 E-mail: Web: Styles/Specialties: blues Ed Chmelewski, A&R BLOODSHOT RECORDS 3039 W. Irving Park Rd. Chicago, IL 60618 773-604-5300 E-mail: Web: Styles/Specialties: punk, country, soul, pop, bluegrass, blues and rock Rob Miller, Owner Nan Warshaw, Owner BLUE NOTE RECORDS (Universal Music Group) Blue Note, Narada Jazz, Metro Blue 150 5th Ave. 6th Fl. New York, NY 10011 E-mail: Web: Don Was, President Blue Note Eli Wolf, Sr. Directory of A&R BOMP/ALIVE NATURALSOUND RECORDS 919 Isabel, Unit G Burbank, CA 91506 Web: Roster: the Black Keys, Two Gallants, Buffalo Killers, Brian Jonestown Massacre and more Distribution: Lumberjack Mordam Music Grp. *Unsolicited material accepted. Do not contact us, we will contact you if we dig what we hear! Patrick Boissel, A&R BURNSIDE RECORDS 20048 N.E. San Rafael St. Portland, OR 97203 800-288-2007 E-mail: Web: Styles/Specialties: blues, americana, folk CAPITOL MUSIC GROUP (Universal Music Group) 1750 N. Vine St., 9th Fl. Hollywood, CA 90028 323-462-6252 Web: *No unsolicited material Alex Luke, Exec VP A&R CAPITOL MUSIC GROUP - NEW YORK (Universal Music Group) 150 5th Ave., 3rd Fl. New York, NY 10011 212-786-8200 Web: *No unsolicited material Ronette Bowi, Dir. A&R Admin. CAPITOL RECORDS NASHVILLE (EMI parent company) 3322 W. End Ave., 11th Fl. Nashville, TN 37203 615-269-2000 E-mail: a& Web: Autumn House, VP A&R Betsy Morley, Sr. Dir. A&R Admin. CASH MONEY RECORDS (Universal Republic) E-mail: Web: Styles/Specialties: Urban, Hip-hop Bryan Williams, Co-owner Ronald ‘Slim’ Williams, Co-owner CASTLE RECORDS P.O. Box 2435 Hendersonville, TN 37077 615-559-5226 E-mail: Web: Styles/Specialties: country *We accept unsolicited material. See website for demo submission Dave Sullivan, A&R CENTURY MEDIA RECORDS 2323 W. El Segundo Blvd. Hawthorne, CA 90250 323-418-1400 E-mail: Web: Styles/Specialties: heavy metal, hard rock

*Unsolicited material accepted, see web for details. Jens Prueter, Head of A&R CEXTON RECORDS P.O. Box 80187 Rancho Santa Margarita, CA 92688 917-570-6664 Offices in CA and NYC E-mail: Web:, Styles/Specialties: jazz, big band, swing and Italian-American artists Distribution: Indie, point of purchase, Internet, specialty stores John Anello, Jr., A&R CHERRYTREE RECORDS (Interscope Records) 1418 4th St. Santa Monica, CA 90401 310 865-1000 E-mail: Web:, www. Styles/Specialties: All genre styles considered Roster: Feist, Ellie Goulding, Sting, LMFAO, Robyn, Far East Movement, La Roux, Michael Kiwanuka, Deap Vally, Jessie Ware, Colette Carr, Willy Moon, Natalia Kills, Marianas Trench, Matthew Koma, Tokio Hotel, Nero Scott Enright, A&R Kelvin Chu, A&R Jody Klein, A&R   CLEOPATRA RECORDS 11041 Santa Monica Blvd., PMB 703 Los Angeles, CA 90025 310-477-4000 Web: Styles/Specialties: gothic, rock, metal, rap, R&B, dance, classics, soundtracks Brian Perera, President Tim Yasul, VP/GM CLICKPOP RECORDS P.O. Box 5765 Bellingham, WA 98227 E-mail: Web: Styles/Specialties: folk, metal, pop, punk, electronic, ambient noise and more Dave Richards, A&R CLUBSTREAM LABEL GROUP Gothenburg Sweden +46-(0)733 101 808 E-mail: Web: Style/Specialties: techno, all types of electronic dance music *Accepts unsolicited material. Do not send rock music, reggae or psy-trance. See website for instructions Hakan Ludvigson, A&R Manager CMH RECORDS 2898 Rowena Ave. Los Angeles, CA 90039 323-663-8073 Web: Styles/Specialties: country, bluegrass, electric, children’s, Christmas COAST RECORDS 2530 Atlantic Ave., Ste. C Long Beach, CA 90806 310-325-2800 E-mail: Web:, Styles/Specialties: all styles *Accepts unsolicited material Paul Loggins, A&R COLUMBIA RECORDS - LOS ANGELES (Sony Music) 9830 Wilshire Blvd. Beverly Hills, CA 90212 310-272-2783 E-mail: Web: *No unsolicited material Ashley Newton, Pres. A&R Mark Williams, VP A&R JR Lindsey, Dir. A&R Harley Wertheimer, Manager A&R COLUMBIA RECORDS - NEW YORK 550 Madison Ave., 24th Fl. New York, NY 10022 E-mail: Web: *No unsolicited material John Doelp, Sr. V.P., A&R Operations Allison Woest, Manager A&R Andrew D. Keller, A&R COMPASS RECORDS 916 19th Ave. S. Nashville, TN 37212 615-320-7672 800-757-2277 E-mail:

Web: Styles/Specialties: celtic, roots Alison Brown, A&R Gary West, A&R CONCORD MUSIC GROUP 100 N. Crescent Dr. Beverly Hills, CA 90210 310-385-4455 E-mail: Web: Styles/Specialties: jazz John Burk, Executive VP, A&R Chris Dunn, Senior Director, A&R Joe McEwen, Vice President, A&R CRANK! A RECORD COMPANY 1223 Wilshire Blvd., Ste. 823 Santa Monica, CA 90403 E-mail: Web: Styles/Specialties: “melodic-indie hard-pop-rock” Distribution: Nail *Not accepting any new demos at this point Jeff Matlow, A&R CURB RECORDS 48 Music Sq. E. Nashville, TN 37203 615-321-5080 Fax 615-327-1964 E-mail: Web: Styles/Specialties: country, pop, gospel *No unsolicited material Bryan Stewart, VP A&R DANGERBIRD RECORDS 3801 Sunset Blvd. Los Angeles, CA 90026 323-665-1144 E-mail: Web: Roster: Butch Walker, Royal Teeth, T. Hardy Morris, Broadheds, JJAMZ, Maritime *We do not accept unsolicited demos Jenni Sperandeo, Pres. DECAYDANCE MUSIC New York, NY E-mail: Web: *See website about demo submission DEEP ELM RECORDS P.O. Box 792197 Paia, HI 96779 702-502-6599 E-mail: Web:, http://www.deepelm. com/submit/ Styles/Specialties: indie rock, emo, punk, pop, atmospheric, slowcore, alt-country, instrumental John Szuch, A&R DEEP SOUTH ENTERTAINMENT P.O. Box 17737 Raleigh, NC 27619 919-844-1515 E-mail: Web: Styles/Specialties: rock *See website for demo submission policy Andy Martin, Co-owner Dave Rose, Co-owner DEF JAM See Island Def Jam DELICIOUS VINYL RECORDS 6607 Sunset Blvd. Los Angeles, CA 90028 323-465-2700 E-mail: Web: *No unsolicited material Michael Ross, A&R/Owner Rick Ross, A&R DELMARK RECORDS 4121 N. Rockwell Chicago, IL 60618 773-539-5001 Fax 773-539-5004 E-mail: Web: Styles/Specialties: blues and jazz Bob Koester, Sr., A&R Steve Wagner, A&R DISCHORD RECORDS 3819 Beecher St. N.W. Washington, DC 20007 703-351-7507 E-mail: Web: Styles/Specialties: punk rock DOMO MUSIC GROUP 11340 W. Olympic Blvd., Ste. 270 Los Angeles, 90064 800-899-1000, 310-966-4414 E-mail:

Web: *Accepts Demo submission Styles/Specialties: new age, world music, rock, soundtrack, ambient, electronic Elichi Naito, CEO/President D’MAR ENTERTAINMENT, INC. 7723 Tylers Place Blvd., Ste. 275 West Chester, OH 45069 513-617-2392 E-mail: Web: Styles/Specialities: smooth jazz, R&B, gospel *Accepts unsolicited material Sheila A. Jordan, A&R DRAG CITY RECORDS P. O. Box 476867 Chicago, IL 60647 312-455-1015 Fax 312-455-1057 E-mail: Web: Styles/Specialties: rock, hard rock, experimental DUAL TONE RECORDS 3 Mcferrin Ave. Nashville, TN 37206 615-320-0620 Fax 615-320-0692 E-mail: Web: Styles/Specialties: country, rock Will McDonald, A&R Marketing E1 MUSIC GROUP 22 Harbor Park Dr. Port Washington, NY 11050 516-484-1000 Alan Grunblatt, President E-mail: Web: EARTH MUSIC PRODUCTIONS, LLC P.O. Box 72 Litchfield, CT 06759 860-567 8796 Styles/Specialties: new age ELEKTRA (Warner Music Group) 3400 W. Olive Ave. Burbank, CA 91505 323-466-0103 E-mail: Web: Jeff Castelaz, President Mike Caren, Exec. VP of A&R EMI CHRISTIAN MUSIC GROUP (CMG) 101 Winners Cir. Brentwood, TN 27027 615-371-4300 E-mail: Web: http://www.capitolchristianmusicgroup. com/ *No unsolicited material EMI MUSIC GROUP (See Universal Music Group) Web: *No unsolicited material EMPEROR JONES RECORDS P.O. Box 4730 Austin, TX 78765 E-mail: Web: Styles/Specialties: folk, indie, alt. EPIC RECORDS GROUP (Sony Music Entertainment) 550 Madison Ave. 22nd Fl. New York, NY 10022 212-833-8000 Web: *No unsolicited material Farra Matthews, VP A&R Additional location: 9830 Wilshire Blvd. Beverly Hills, CA 90212 EPITAPH / ANTI (WMG) 2798 Sunset Blvd. Los Angeles, CA 90026 213-413-7353 E-mail: Web: Styles/Specialties: alternative rock, posthardcore, punk rock, hip hop, metalcore *Accepts unsolicited material. See website for instructions Brett Greenberg, Radio Promotion Additional locations: Canada 366 Adelaide St. E., Ste. 432 Toronto, ONT M5A 3X9, Canada 416-868-4848

January 2015


Annual Directory of A&R The Netherlands Studio Korte Leidse Korte Leidse Dwarstraat 12 / Unit 211 1017 RC Amsterdam, The Netherlands +31 (20) 550-3838 EQUAL VISION P.O. Box 38202 Albany, NY 12203-8202 518-458-8250 E-mail: Web: Dan Sandshaw, GM/A&R FAIR TRADE RECORDS 9003 Overlook Blvd. Brentwood, TN 37027 Attn: A&R Department E-mail: Web: Styles/Specialties: Christian *Accepts unsolicited material. See website for submission FAT POSSUM RECORDS P.O. Box 1923 Oxford, MS 38655 662-234-2828 Fax 662-234-2899 E-mail: Web: Styles/Specialties: indie *Accepts unsolicited material Matthew Johnson, President FAT WRECK CHORDS 2196 Palou Ave. San Francisco, CA 94124 Web: Styles/Specialties: punk *Send demos to: Asian Man Records ATTN: Mike, PO Box 35585, Monte Soreno, CA 95030 FAVORED NATIONS RECORDS Hollywood, CA 90078 Web: Styles/Specialties: all styles welcome FEARLESS RECORDS 13772 Goldenwest St., #545 Westminster, CA 92683 562-592-3438 E-mail: Web: Styles/Specialties: pop punk, punk rock, emo, alternative rock, post-hardcore *Accepts unsolicited material. See website for mailing instructions Bob Becker, President/A&R Chris Foitle, VP A&R FERRET MUSIC 1290 Ave. of the Americas, 24th Fl. New York, NY 10104 609-799-2424 E-mail: Web: Carl Severson, President/A&R FERVOR RECORDS 1810 W. Northern Ave., Ste. A-9 Box 186 Phoenix, AZ 85021 602-595-3582 Web: Styles/Specialties: vintage, new indie Jeff Freundlich, Exec. Producer FONOVISA (Universal Music Group) Woodland Hills, CA Web: *Accepts unsolicited material FOODCHAIN RECORDS 6464 Sunset Blvd., Ste. 920 Hollywood, CA 90028 323-957-7900 Fax 323-957-7911 E-mail: Web: Roster: Supagroup, Minibar, Coyote Shivers, Betty Blowtorch, Dear John Letters, and more Style/Specialties: hard rock, punk *Please submit demos by mail only Kelly Spencer, VP A&R FRONTIER RECORDS P.O. Box 22 Sun Valley, CA 91353 818-759-8279 E-mail: Web: Styles/Specialties: hardcore punk, OC punk, punk-pop, alternative rock *No unsolicited material. FUELED BY RAMEN 1290 Ave. of the Americas, 28th Fl. New York, NY 10104 Web: www.fueledbyramen Mike Easterlin, GM GEARHEAD RECORDS P.O. Box 2375

62 January 2015

Elk Grove, CA 95759 916-897-2451 E-mail: Web: Styles/Specialties: rock n’ roll, outlaw country, punk, garage, rockabilly and sleaze metal *No unsolicited material Michelle Haunold, Pres. GEFFEN See Interscope GLASSNOTE RECORDS 770 Lexington Ave., 12th Fl. New York, NY 10065 646-214-6000 Fax 646-237-2711 E-mail: Web: Daniel Glass, President Additional location: 1750 N. Vine Street Hollywood, CA 90028 323-871-5583 Web: Marc Nicolas, A&R GLOBAL CREATIVE GROUP 4757 E. Greenway Rd., Ste. 107B-PMB180 Phoenix, AZ 85032 800-884-4553 E-mail: Web: Styles/Specialties: pop, rock, world Distribution: Redeye *Accepts unsolicited material Ian Faith, CEO GNP CRESCENDO Web: Styles/Specialties: jazz, film/tv soundtracks Neil Norman, Pres. GOGIRLSMUSIC.COM E-mail: Web: Styles/Specialties: all genres *The oldest and largest online community of indie women in music Madalyn Sklar, A&R GO-KUSTOM REKORDS P.O. Box 77750 Seattle, WA 98177 E-mail: Web: Styles/Specialties: surf, psychobilly, hot rod, lo-fi, post-punk, electronica D.A. Sebasstian, A&R GREEN LINNET 916 19th Ave. S. Nashville, TN 37212 800-757-2277, 615-320-7672 Fax 615-3207378 E-mail: Web: Styles/Specialties: celtic, world music Garry West, A&R HACIENDA RECORDS 1236 S. Staple Corpus Christi, TX 78404 361-882-7066 E-mail: Web: Styles/Specialties: Mexicana, Ranchito, gospel HEADLINER RECORDS 102 N.E. 2nd St. Boca Raton, FL 33432 E-mail: Web: Styles/Specialties: pop, pop alternative, R&B, always looking for new opportunities and great singers and writers *Unsolicited material welcome George Tobin, Owner HOLLYWOOD RECORDS – LOS ANGELES 500 S. Buena Vista St., Old Team Bldg. Burbank, CA 91521 818-560-7084 Fax 818-841-5140 Web: *No unsolicited material, No MP3s Mio Vukovic, Sr. VP HOLOGRAPHIC RECORDS 700 W. Pete Rose Way Lobby B, 3rd Fl., Ste. 390 PMB 18 Cincinnati, OH 45203 513-442-3886 E-mail: Web: Styles/Specialties: fusion, jazz James Sfarnas, President HOPELESS/SUB CITY P.O. Box 7495 Van Nuys, CA 91409

E-mail: Web: Louis Posen, Owner HYDRAHEAD RECORDS P.O. Box 291430 Los Angeles, CA 90029 E-mail: Web: Styles/Specialties: hard rock, metal, experimental *No unsolicited material. IAMSOUND RECORDS PO Box 46460 Los Angeles, CA 90046 E-mail: Web: Roster: Bleeding Knees Club, the Black Ghosts, Charli XCX, Florence and the Machine Styles/Specialties: indie rock, electro Niki Roberton, Founder INTERSCOPE-GEFFEN-A&M-UMG 2220 Colorado Ave., 5th Fl. Santa Monica, CA 90404 310-865-1000 E-mail: Web: *No unsolicited material INVISIBLE RECORDS 3319 S. Lituanica Ave. Chicago, IL 60608 773-523-8316 E-mail: Web:, www. Styles/Specialties: goth, metal, rock IPECAC RECORDINGS E-mail: Web: Distribution: Fontana Roster: Fantomas, Melvins Big Band, Northern State, Dalek, Skeleton Key, Peeping Tom, Dub Trio Greg Werckman, A&R

Web: Styles/Specialties: punk, indie KOBALT MUSIC 8201 Beverly Blvd. #400 Los Angeles, CA 90048-4505 310-967-3087 E-mail: Web: Diarmuid Quinn, Pres. Label Services, N. America Additional locations: 317 Madison Ave. #2310 New York, NY 10017-5211 212-247-6204 Bob Bortnick, Sr. V.P, Creative 1019 17th Ave., S, Ste 201 Nashville,TN 37212 615-321-8585 Stephanie Cox, Creative 83 Walton Street, NW, Suite 400 Atlanta, GA 30303 404-954-6600 Al McLean, SVP, Creative 4 Valentine Pl. London, SE1 8QH England +44 (0) 207 401 5500 KOCH ENTERTAINMENT/ EONE MUSIC GROUP 740 Broadway, 8th Fl. New York, NY 10003 212-353-8800 E-mail: Web:, KRIAN MUSIC GROUP 224 W. 30th St., Ste. 1007 New York, NY 10001-1077 212-967-3548 E-mail: Web: Frank Blasucci, GM

IRONWORKS MUSIC 4775 Corbin Ave. Tarzana, CA 91356 E-mail: Web: Styles/Specialties: a full facility entertainment company *No unsolicited material Jenn Johnson, A&R

LITTLE FISH RECORDS P.O. Box 19164 Cleveland, OH 44119 216-481-1634 E-mail: Web: Styles/Specialties: roots reggae, jam band, smooth jazz, pop *Accepts unsolicited material

ISLAND DEF JAM MUSIC GROUP LOS ANGELES - UMG 2220 Colorado Ave., 5th Fl. Santa Monica, CA 90404 310-865-5000 Web: *No unsolicited material Sam Watters, VP, A&R

LOCO ENTERTAINMENT 1621 W. 25th St., Ste 115 San Pedro, CA 90732 310-548-8500, Fax 310-548-6042 Contacts: Floyd Bocox, President E-mail: Web: Roster: Jayo Felony Style/Specialties: hip-hop, rap

ISLAND DEF JAM MUSIC GROUP 825 8th Ave., 29th Fl. New York, NY 10019 212-333-8000 Fax 212-603-7654 E-mail: Web: Styles/Specialties: hip hop, rap, urban, R&B *No unsolicited materia Steve Bartels, President/COO David Massey, President Karen Kwak, Sr. VP of A&R

LOST HIGHWAY RECORDS (See UMG Nashville) 401 Commerce St., Ste. 1100 Nashville, TN 37219 615-524-7500 E-mail: Web: Styles/Specialties: rock, country, folk *No unsolicited material accepted Luke Lewis, Chairman

JAGGO RECORDS, LLC 10061 Riverside Dr., Ste. 718 Toluca Lake, CA 91602 323-850-1819 E-mail: Web: Styles/Specialties: pop, rock, jazz, R&B, hiphop, soul, World music *Unsolicited material accepted K RECORDS P.O. Box 7154 Olympia, WA 98507 360-786-1594 E-mail: Web: Roster: Kimya Dawson, the Curious Mystery, the Blackouts Calvin Johnson, Owner

LOVECAT MUSIC P.O.Box 548, Ansonia Station New York, NY 10023 Fax 646-304-7391 E-mail: Web: Styles/Specialties: rock, pop, R&B, Latin, world, dance, jazz *Accepts unsolicited material LOVEPUMP UNITED 61 Greenpoint Ave., #508 Brooklyn, NY 11222 347-469-0627 E-mail: Web: Roster: Glitter Pals, Genghis Tron Distribution: Secretly Canadian Distro Styles/Specialties: indie, electro

KEMADO RECORDS 87 Guernsey St. Brooklyn, NY 11222 E-mail: Web: Styles/Specialties: hard rock, metal *Accepts unsolicited material

LUAKA BOP 195 Chrystie, Ste. 901F New York, NY 10002 212-624-1469 E-mail: Web: Styles/Specialties: pop, world *No unsolicited materials.

KILL ROCK STARS 107 S.E. Washington St. Ste. 155 Portland, OR 97214 E-mail:

MAGNA CARTA RECORDS A-1 Country Club Rd. East Rochester, NY 14445 585-381-5224

Download at E-mail: Web: Styles/Specialties: progressive metal *See website for Demo Submission Peter Morticelli, A&R MALACO RECORDS 3023 W. Northside Dr. Jackson, MS 39213 601-982-4522 E-mail: Web: Styles/Specialties: gospel, R&B, spoken word, jazz, blues, soul *No unsolicited material Tommy Couch, Jr., Pres./R&B A&R Wolf Stephenson, VP of A&R DA Johnson, Dir. Gospel Larry Jones, R&B Promotions Director MATADOR RECORDS 304 Hudson St., 7th Fl. New York, NY 10013 212-995-5882 Fax 212-995-5883 Web: Styles/Specialties: all styles *No Unsolicited Material MAXJAZZ 115 W. Lockwood Ave. St. Louis, MO 63119 800-875-8331 E-mail: Web: Styles/Specialties: jazz Richard McDonnell, President MENTAL RECORDS 2640 E. Barnett Rd., Ste. E-331 Medford, OR 97504 Web:, Styles/Specialties: alternative, punk Doug Hill, A&R MERGE RECORDS Durham, NC E-mail: Web: Styles/Specialties: alt-rock Roster: Arcade Fire, others MEROKE SKY RECORDS Van Nuys, CA 818-780-5525 Styles/Specialties: folk/rock Roster: Barry Goldberg, Joe Hajek, Alex Del Zoppo, Tony Kaye, Todd Taylor, Dallas Guier Mike Giangreco, A&R METAL BLADE RECORDS 5737 Kanan Rd. #143 Agoura Hills, CA 91301 818-597-1964 E-mail: Web: Styles/Specialties: heavy metal, progressive, rock *See website for Demo Submission Brian Slagel, President Additional location: Metal Blade Records GMBH Marstallstrasse 14 73033 Goppingen, Germany METROPOLIS RECORDS P.O. Box 974 Media, PA 19063 610-595-9940 E-mail: Web: Styles/Specialties: electronic, industrial, goth *Accepts unsolicited material by CD or CD-R

MILAN ENTERTAINMENT Burbank, CA 91505 E-mail: Web: Styles/Specialties: soundtracks, electronic, world MINT RECORDS P.O. Box 3613, M.P.O. Vancouver, BC Canada V6B 3Y6 604-669-MINT E-mail: Web: Roster: Duotang, Duplex, Fanshaw, Hot Panda, Immaculate Machine Styles/Specialties: indie *Send demos via mail MORPHIUS RECORDS 100 E. 23rd St. Baltimore, MD 21218 410-662-0112 E-mail: Web: Styles/Specialties: rock, punk, hip-hop, experimental Simeon Walnunas, Press/PR MOTORIZED MUSIC GROUP P.O. Box 3154 Glendale, CA 91221 818-548-7989 E-mail: Web: Styles/Specialties: all Randy Nicklaus, A&R (818-548-7989) Laure Dunham, A&R (818-548-7984) MOTOWN 1755 Broadway, 6th Fl. New York, NY 10019 212-373-0750 Web: Ne-Yo, Sr. VP of A&R *No unsolicited material Additional location: 2220 Colorado Ave. 3rd Fl. Santa Monica, CA 90404 Web: MOUNTAIN APPLE COMPANY, THE 1330 Ala Moana Blvd., Ste. 001 Honolulu, HI 96814 800-882-7088, 808-597-1888 Fax 808-597-1151 E-mail: Web: Styles/Specialties: traditional & contemporary Hawaiian MRG RECORDINGS Los Angeles, CA 310-629-9782 E-mail:, Web: Styles/Specialties: rock, electronic, ambient, folk NETTWERK RECORDS 500-575 W. 8th Ave. Vancouver, B.C. V5Z oC4 604-654-2929 Fax 604-654-1993 E-mail: Web: *No unsolicited material Mark Jowett, VP A&R International Additional locations: 6525 W. Sunset Blvd. Ste. 800 Hollywood, CA 90028 323-301-4200, Fax 323-301-4199

345 7th Ave., Ste. 1101 New York, NY 10001 212-760-1540 Fax 212-760-9719 124 Rindge Ave., Unite 25 Cambridge, MA 02140 617-497-8200 Fax 497-9988 NEW PANTS PUBLISHING INC. & OLD PANTS PUBLISHING INC. 102 E. Pikes Peak Ave., Ste. 200 Colorado Springs, CO 80903 719-632-0227 Fax 719-634-2274 E-mail: Web:, Styles/Specialties: all genre styles considered Roster: Stephanie Aramburo, Chad Steele, C. Lee Clarke, Tech T, James Becker, Kathy Watson, Lisa Bigwood, George Montalbano, Silence, Sherwin Greenwood, Joel Diehl, John Ellis and Rocky Shaw. *Unsolicited material through management or lawyer only. Please call or e-mail before submitting. Robert A. Case, A&R NEW WEST RECORDS 3723 W. Olive Ave. Burbank, CA 91505 818-433-3500 E-mail: Web: Styles/Specialties: country, pop, singer- songwriter NONESUCH RECORDS 1290 Ave. of the Americas, 23rd Fl. New York, NY 10104 212-707-2900 Fax 212-707-3207 E-mail: Web: Roster: Emmylou Harris, Joni Mitchell, Gipsy Kings, KD Lang, Randy Newman, Wilco, Brian Wilson, Stephen Sondheim, Kronos Quartet, Youssou N’Dour, Buena Vista Social Club, Laurie Anderson and more. Styles/Specialties: jazz, classical, Americana, singer-songwriter, contemporary, world, pop *No Unsolicited material Bob Hurwitz, A&R David Bither, Senior VP A&R ODDS ON RECORDS LLC 14 Sunset Way Henderson, NV 89014 702-318-6001 E-mail: Web: Specialties: pop / rock *No unsolicited material please OGLIO ENTERTAINMENT 520 Fremont St., #216 Las Vegas, NV 89101 702-800-5500 Web: Contact: Carl Caprioglio, Mark Copeland Roster: the Leftovers, Foreign Globester, Margo Guryan, BigBang, Beatallica, George Lopez , Jackie “Joke Man” Martling, comedy, reissues, novelty, soundtracks, Brian Wilson (Beach Boys), Robbie Krieger (the Doors), Ray Manzarek (the Doors), Wisely, Phunk Junkeez, Bouquet of Veal and Ogden Edsl Carl Caprioglio, President OH BOY RECORDS 33 Music Sq. W., Ste. 102B Nashville, TN 37203 800-521-2112 Fax 615-742-1360 E-mail: Web:

Styles/Specialties: country *No unsolicited materials OMNIVORE RECORDINGS 7958 Beverly Blvd. Los Angeles, CA 90048-4511 626-298-5897 Web: ORCHARD 23 E. 4th St., 3rd Fl. New York, NY 10003 212-201-9280 E-mail: Web: Brad Navin, CEO PAPER GARDEN RECORDS 170 Tillary St., Apt. 608 Brooklyn, NY 11201 E-mail:, Web: Roster: Alcoholic Faith Mission, Arms, Conveyor, Dad Rocks! PEAK RECORDS 30765 Pacific Coast Hwy., Ste. 134 Malibu, CA 90210 310-589-8604 E-mail: Web: *No unsolicited material Styles/Specialties: classical, contemporary, jazz Andi Howard, President PINCH HIT ENTERTAINMENT 2400 West Carson St., Suite 223 Torrance, CA 90501 Web: Styles/Specialties: all styles POSI-TONE P.O. Box 2848 Los Angeles, CA 90294 310-871-2652 E-mail: Web: Styles/Specialties: jazz Roster: Jim Rotondi, Spike Wilner, Ralph Bowen, Orrin Evans, Steve Davis, Jared Gold, Brandon Wright and Ken Fowser. Marc Free, A&R PPL ENTERTAINMENT GROUP, INC. 468 N. Camden Dr., Ste. 200 Beverly Hills, CA 90210 310-860-7499 818-506-8533 E-mail: Web: Styles/Specialties: all *No unsolicited material accepted. Must first e-mail or write with SASE for permission. PRA RECORDS 1255 Fifth Ave., Ste. 7K New York, NY 10029 212-860-3233 E-mail: Web: Styles/Specialties: jazz Distribution: E-1 Patrick Rains, A&R PRAVDA RECORDS P.O. Box 268043 Chicago, IL 60626 773-763-7509 E-mail: Web: Styles/Specialties: rockabilly, pop, blues Distribution: ADA

January 2015


Annual Directory of A&R PRIMARILY A CAPPELLA P.O. Box D San Anselmo, CA 94979 415-455-8602 E-mail: Web: Styles/Specialties: a cappella *Unsolicited material accepted PUTUMAYO WORLD MUSIC 28 W. 25th St., 5th Fl. New York, NY 10010 212-625-1400 Fax 212-460-0095 E-mail: Web: *Accepts unsolicited materials. *Send CD demo & contact info to: Putumayo World Music, Attn: A&R 413 Carpenter Rd., Charlotte, VT 05445 RAMP RECORDS Santa Barbara, CA E-mail: Web: Styles/Specialties: eclectic Roster: Michael McDonald, Jeff Bridges *No unsolicited material RAP-A-LOT RECORDS P.O. Box 924190 Houston, TX 77292 800-861-7272 E-mail: Web: Styles/Specialties: Hip-Hop, Rap Thomas Randall, Dir. A&R RAZOR & TIE MUSIC 214 Sullivan St., Ste. 4A New York, NY 10012 212-598-2200 E-mail: Web: Styles/Specialties: pop, metal, rock, soul, folk, dance, world Pete Giberga, Head of A&R Mike Gitter, Senior Dir., A&R Additional location: Los Angeles, CA E-mail: Web: Mike Glitter, A&R RCA RECORDS 550 Madison Ave. New York, NY 10022 212-930-8000 Web: *No unsolicited material Keith Naftaly, Exec. VP / Head of A&R David Wolter, Sr. VP, A&R Dan Chertoff, VP, A&R Additional locations: 9830 Wilshire Blvd. Beverly Hills, CA 90212-1804 Greg Federspiel, A&R Consultant 9 Derry St 4th Fl London, W8 5HY England Web: RCA RECORDS - NASHVILLE 1400 18th Ave. S, 4th Fl. Nashville, TN 37212 615-301-4488 Web: *No unsolicited material

64 January 2015

REBEL WALTZ / TIME BOMB RECORDINGS 31652 2nd Ave. Laguna Beach, CA 92651 E-mail: Web: Styles/Specialties: punk, alt. rock *No unsolicited material RED BULL RECORDS 9026 Melrose Ave. Hollywood, CA 90069 310-248-4835 Web: *Demo submission: RED HOUSE RECORDS P.O. Box 4044 St. Paul, MN 55104 800-695-4687, 651-655-4161 Fax 651-644-4248 E-mail:, Web: Styles/Specialties: singer-songwriters, blues, traditional folk, or instrumental RELAPSE RECORDS P.O. Box 2060 Upper Darby, PA 19082 610-734-1000 Fax 610-734-3719 E-mail: Web: Styles/Specialties: metal, rock Roster: Baroness, Origin, Brutal Truth, Obscura, Revocation, Red Fang, Toxic Holocaust Rennie Jaffe, VP, A&R Additional location: Relapse Records Europe P.O. Box 6818 5975 ZG Sevenum The Netherlands REPUBLIC RECORDS 1755 Broadway 8th Fl. New York, NY 10019-3743 Web: Nate Albert, VP A&R REVELATION RECORDS P.O. Box 5232 Huntington Beach, CA 92615 714-842-7584 E-mail: Web: Styles/Specialties: hardcore, punk, emo *Unsolicited material accepted RHYMESAYERS ENTERTAINMENT 2409 Hennepin Ave. Minneapolis, MN 55405 612-977-9870 E-mail: Web:, https://www. Styles/Specialties: hip-hop/rap Brent Sayers, CEO RISE RECORDS 15455 NW Greenbrier Pkwy, Ste. 115 Beaverton, OR 97006 E-mail: ROADRUNNER RECORDS 1290 Ave. of the Americas, 28th Fl. New York, NY 10104 212-274-7500 E-mail: Web: ROCKZION RECORDS 673 Valley Dr. Hermosa Beach, CA 90254

310-379-6477 Fax 310-379-6477 E-mail: Web: Styles/Specialties: Christian and crossover rock ROIR (say ROAR!) (Reachout International Records) P.O. Box 150-460 Van Brunt Station Brooklyn, NY 11215 718-477-ROIR (7647) Fax 718-852-7657 E-mail: Web: Styles/Specialties: punk, reggae, rock *Unsolicited material accepted, but look at our website so you know who we are. ROTTEN RECORDS A&R Dept. P.O. Box 56 Upland, CA 91785 909-920-4587 E-mail: Web: Styles/Specialties: metal, punk *Unsolicited material accepted. ROUNDER RECORDS Nashville, TN E-mail: Web: *No unsolicited material Styles/Specialties: roots music Ken Irwin, Founder Marian Leighton Levy, Founder Bill Nowlin, Founder John Virant, President Scott Billington, VP, A&R Tracy Gershon, VP, A&R ROUND HILL MUSIC 400 Madison Ave. New York, NY 10017 212-380-0080 E-mail: Web: Jonnie Davis, Senior VP, A&R Additional locations: Los Angeles, CA 1233 Wilshire Blvd., Ste. 112 Santa Monica, CA 90403 212-380-0080 Nashville, TN 1004 18th Ave. S. Nashville, TN 37212 615-292-5100 Kari Smith, Director, A&R Josh Saxe, Associate Dir., A&R SADDLE CREEK RECORDS P.O. Box 8554 Omaha, NE 68108 402-558-8208 E-mail: Web: Styles/Specialties: rock, electronica, country rock Robb Nansel, President

San Francisco, CA 94141 415-626-6334 E-mail: Web: Styles/Specialties: world music, ambient, folk, contemporary classical and intelligent pop music *No unsolicited material SKAGGS FAMILY RECORDS P.O. Box 2478 Hendersonville, TN 37077 615-264-8877 Fax 615-264-8899 E-mail: Web: Contact: Ricky Skaggs, Charlotte Scott SONIC PAST MUSIC, LLC 25276 Via Tanara Valencia, CA 91355 818-203-9999 Web: Styles/Specialties: specializes in unreleased material by famous artists as well as cult-based musicians of the ‘60s through the ‘90s Joey Stec, President SONIC SAFARI MUSIC / JONKEY ENTERPRISES 663 W. California Ave. Glendale, CA 91203 818-247-6219, 800-259-6004 E-mail: Web: Styles/Specialties: environmental, world, traditional, ethnic Distribution: Indies Chuck Jonkey, A&R SONY MUSIC LABEL GROUP 550 Madison Ave. New York, NY 10022 212-833-8000 Web: *No unsolicited material SONY MUSIC LATIN SONY DISCOS 550 Madison Ave. New York, NY 10022 212-833-8000 Web: SONY MUSIC NASHVILLE (Arista Nashville, BNA Records, Columbia Nashville, RCA Records Nashville) 1400 18th Ave. S., 4th Fl. Nashville, TN 37212 615-858-1300 Fax 615-301-4303 Web: *No unsolicited material Jim Catino, VP A&R Taylor Lindsey, A&R Director SPARROW RECORDS 101 Winners Circle Brentwood, TN 37027 615-371-4300 E-mail: Web: Styles/Specialties: Christian *No unsolicited materials

SHANGRI-LA PROJECTS P.O. Box 40106 Memphis, TN 38174 901-359-3102 E-mail: Web: Styles/Specialties: alternative rock Sherman Willmott, A&R

SST 406 Talbot St. Taylor, TX 76574 512-352-8165 Fax 512-352-8178 Web: Styles/Specialties: rock, jazz, punk progressive rock *Unsolicited material accepted


STONES THROW RECORDS, LLC 2658 Griffith Park Blvd., #504

Download at Los Angeles, CA 90039 E-mail: Web: *Accepts unsolicited material, no MP3’s

Web: Styles/Specialties: Latin rap, old skool, rap, R&B, Latin, oldies, disco *Unsolicited material accepted

SUB POP RECORDS 2013 4th Ave., 3rd Fl. Seattle, WA, 98121 206-441-8441 E-mail: Web: *Accepts unsolicited materials Tony Kiewel, Head of A&R Richard Laing, A&R

TOMMY BOY 902 Broadway New York, NY 10010 212-388-8475 E-mail: Web: *Accepts unsolicited material. To submit demos, please e-mail low-bit rate MP3s or links to MsSpace and Facebook to: info@tommyboy. com Rosie Lopez, President

SUMERIAN RECORDS 10866 Wilshire Blvd., Ste. 700 Los Angeles, CA 90024 424-832-7275 Office 424-221-5500 Fax E-mail: Web: Ash Avildsen, President Shawn Keith, GM / A&R SURFDOG RECORDS 1126 South Coast Hwy 101 Encinitas, CA 92024 760-944-8000 Fax 760-944-7808 E-mail: Web: Styles/Specialties: rock Roster: Brian Setzer, Stray Cats, Richard Cheese, Gary Hoey, Rusty Anderson, Slightly Stoopid, Dan Hicks, Butthole Surfers, Gibby Haynes, Dylan Donkin, Dave Stewart, the Wylde Bunch, Burning of Rome *Unsolicited material accepted Scott Seine, A&R SYMPATHY FOR THE RECORD INDUSTRY 120 State Ave., N.E. 134 Olympia, WA 98501 E-mail: Web: Styles/Specialties: rock, pop, punk TANGENT RECORDS P.O. Box 383 Reynoldsburg, OH 43068-0383 614-751-1962 Fax 614-751-6414 E-mail: Web: Styles/Specialties: contemporary instrumental, rock instrumental, electronic, jazz-rock, world beat Distribution: self-distributed *Unsolicited material accepted Andrew J. Batchelor, President THIN MAN RECORDS P.O. Box 322 Torrance, CA 90507 310-320-8822 E-mail: submissions@thinmanentertainment. com, Web: Styles/Specialties: alternative rock, darkwave, deathrock, gothic, industrial, jazz, junk, punk, and psychobilly THIRDMAN RECORDS 623 7th Ave. S. Nashville, TN 37203-4601 615-891-4394 E-mail: Web: Jack White, Founder Ben Swank, Co-founder THUMP RECORDS PO Box 9605 Brea, CA 92822 909-595-2144 E-mail:

TOOTH & NAIL P.O. Box 12698 Seattle, WA 98111-4698 206-691-9782 Web: TRICOPOLIS RECORDS 33261 Adelfa St. Lake Elsinore, CA 92530 951-678-0831, 951-757-5055 E-mail: Web: Contact: Mike Nadolson Styles/Specialties: bluegrass, folk, acoustic *No unsolicited material TRIPLE CROWN RECORDS 331 W. 57th St. #472 New York, NY 10019-3101 E-mail: Web: Fred Feldman, President TRIPLE X RECORDS P.O. Box 862529 Los Angeles, CA 90086-2529 323-221-2204 Fax 323-221-2778 E-mail: Styles/Specialties: alt. rock, reissues, goth, rap Distribution: Navarre *Call before sending material Peter Huer, Owner Dean Naleway, A&R U&L 1617 Cosmo St., Ste. 411 Los Angeles, CA 90028 323-230-6592 E-mail: Web:, Styles/Specialities: indie rock, alternative, singer-songwriter *We do not accept Unsolicited Material

UNIVERSAL MUSIC GROUP 2220 Colorado Ave., 3rd Fl. Santa Monica, CA 90404 310-865-0809 Web: UNIVERSAL MUSIC GROUP - NASHVILLE 401 Commerce St., Ste. 1100 Nashville, TN 37219 615-244-8944 Contact: Brian Wright, A&R, Sr. V.P. E-mail: Web: *No unsolicited material VAGRANT RECORDS 2118 Wilshire Blvd., Ste. 361 Santa Monica, CA 90403 323-302-0100 E-mail:, Web: Styles/Specialities: rock, indie, experimental Roster: City and Colour, Dashboard Confessional, the Eels, Face to Face

*We do not accept unsolicited demos Jon Cohen, President Dan Gill, GM VANGUARD RECORDS 2700 Pennsylvania Ave., Ste. 1100 Santa Monica, CA 90404 310-829-9355 Fax 310-315-9996 E-mail: Web: Syles/Specialties: jazz, folk music *No unsolicited material Bill Bentley, A&R Director VAN RICHTER RECORDS 2145 East Tahquitz Canyon Way, 4-219 Palm Springs, CA 92262 858-731-2995 E-mail: Web: Styles/Specialties: industrial, gothic, metal Paul Abramson, A&R *Accepts unsolicited material VAPOR RECORDS 1460 4th St. #300 Santa Monica, CA 90401 310-393-8442 Fax 310-393-6512 E-mail: Web: Styles/Specialties: indie, rock *Accepts unsolicited material VERVE MUSIC GROUP-UMG Santa Monica, CA E-mail: Web: Styles/Specialties: jazz, adult contemporary, classical *No unsolicited material David Foster, Chairman VICE RECORDS Brooklyn, NY 718-233-3657 Fax 718-599-1769 E-mail: Web: Styles/Specialties: rock *Accepts unsolicited material VICTORY RECORDS 346 N. Justine St., 5th Fl. Chicago, IL 60607 312-666-8661 E-mail: Web: Styles/Specialties: rock, punk, metal Tony Brummel, Founder VIRGIN RECORDS (see Capitol Music Group) VOLCOM ENTERTAINMENT 1740 Monrovia Ave. Costa Mesa, CA 92627 949-646-2175 E-mail: Web: Styles/Specialties: punk, indie, rock Roster: Valient Thorr, Riverboat Gamblers, Year Long Disaster, ASG Ryan Immegart, A&R *No unsolicited material WARNER BROS. NASHVILLE 20 Music Sq. E. Nashville, TN 37203 615-748-8000 E-mail: Web: *No unsolicited material Scott Hendricks, Exec. VP A&R Cris Lacy, VP A&R Rebekah Sterk, Dir./A&R Film/TV, Special Proj.

WARNER BROS. RECORDS 3400 Warner Blvd., 3rd Fl. Burbank, CA 91505 818-846-9090 Fax 818-840-2343 Web: *No unsolicited material Jeff Fenster, Sr. Ex. VP A&R Mike Elizondo, Sr. VP A&R WARNER MUSIC GROUP 1633 Broadway New York, NY 10019 212-275-2000 Web: *No unsolicited material WARNER MUSIC LATINA 555 Washington Ave., 4th Fl. Miami Beach, FL 33319 305-702-2200 Fax 305-266-8771 E-mail: Web: warnermusiclat *No unsolicited material Gabriella Martinez, VP Marketing WAXPLOITATION ENTERTAINMENT 201 S. Santa Fe Ave., Ste. 100 Los Angeles, CA 90012 213-687-9563 E-mail: Web: Styles/Specialties: hip-hop WEBRINGTHEHITS - Los Angeles E-mail: Web: WeBringTheHits/467126096699369 Andy Villalpando, Founder, A&R WICKED COOL RECORDS 434 6th Ave., Ste. 6R New York, NY 10011 212-868-9003 E-mail:, scott@ Web: Styles/Specialties: garage rock Scott Hueston, Label Manager WILD RECORDS Web: Styles: rockabilly, blues, surf, garage and soul Reb Kennedy, President, Founder WIND-UP 79 Madison Ave., 17th Fl. New York, NY 10016 212-895-3100 E-mail: Web: *Accepts unsolicited material Gregg Wattenberg, Sr. VP A&R, CCO Shawn Cohen, Manager, Dir., A&R WORD ENTERTAINMENT 25 Music Sq. W. Nashville, TN 37203 615-251-0600 Web: *No unsolicited material Styles: Christian Rod Riley, President / CEO XL RECORDINGS 304 Hudson Street, 7th Fl. New York, NY 10013wnd E-mail: Web: Styles/Specialties: rock, indie, electro Roster: Adele, Sigur Rós, the xx, MIA, Friendly Fires, Ratatat, Vampire Weekend, Peaches, the White Stripes, Jack White

January 2015


Annual Directory of

Music Attorneys

Never sign anything until you have a qualified legal pro look it over first. Expert legal advice is essential to any successful career, and this exclusive MC list––updated for 2015––will help you connect with an attorney who can advocate for you. ALABAMA ADAMS AND REESE, LLP Regions Harbert Plaza 1901 6th Ave. N., Ste. 3000 Birmingham, AL 35203 205-250-5000 Web: Specialty: Entertainment Law, Music Law, Intellectual Property Additional location: RSA Battle House Tower 11 N. Water St., Ste. 23200 Mobile, AL 36602 251-433-3234 JOHNSTON BARTON PROCTOR & ROSE, LLP 569 Brookwood Village St., Ste. 901 Birmingham, AL 35209 205-458-9400 Fax 205-458-9500 Web: Contact: David W. Proctor, Managing Partner Specialty: Entertainment Law, specializing in representing music industry clients M.S. McNAIR 2151 Government St. Mobile, AL 36606 800-297-1703, 251-450-0111 Fax 251-450-0822 E-mail: Web: Contact: Michael S. McNair Specialty: contracts

633 W. Fifth St., Ste. 5000 Los Angeles, CA 90071 213-254-1200 580 California St., Ste. 1500 San Francisco, CA 94104 415-765-9500 E-mail:

Additional location: One S. Church Ave., Ste. 1500 Tucson, AZ 85701-1630 520-882-1200 Fax 520-884-1294

ALFRED KIM GUGGENHEIM, ESQ. Hamburg, Karic, Edwards & Martin 1900 Ave. of the Stars, Ste. 1800 Los Angeles, CA 90067 310-552-9292 Fax 310-552-9291 E-mail: Web: Specialty: All music-related activities *No unsolicited material, please call or e-mail first.

WILLIAM D. BLACK, LAW OFFICES OF M & I Bank Building One E. Camelback Rd., Ste. 550 Phoenix, AZ 85012 602-910-6144, 888-349-3599 Fax 602-265-3685 Web:

ALLEN B BOELTER, THE LAW OFFICES 4640 Admiralty Way, Ste. 500 Marina del Rey, CA 90292 310-496-5710 Web: Contact: Al Boelter, managing partner Specialty: Business consulting, contracts and transactional matters *Please call for permission before submitting

Additional location: Kierland Corporate Center 7047 East Greenway Parkway, Suite Scottsdale, AZ 85254

ARKANSAS CARVER LAW 2024 Arkansas Valley Dr., Ste. 800 Little Rock, AR 72212-4147 501-224-1500 Fax 805-456-3906 E-mail: Web: Specialty: Intellectual Property

ANDREA BRAUER 3430 Larga Ave. Los Angeles, CA 90039 323-661-2440 Specialty: Contracts, trademarks and copyright *No unsolicited material

Additional location:

ALASKA DAVIS WRIGHT TREMAINE, LLP 188 W. Northern Lights Blvd. Anchorage, AK 99503-3985 907-257-5300 Fax 907-257-5399 E-mail: Web: Specialty: Entertainment Law DORSEY & WHITNEY LLP 1031 W. Fourth Ave., Ste. 600 Anchorage, AK 99501-5907 907-276-4557, 866-270-0350 E-mail: Web: Contact: William J. Evans Specialty: Intellectual Property PERKINS COIE 1029 W. Third Ave., Ste. 300 Anchorage, AK 99501-1981 907-279-8561 Fax 907-276-3108 E-mail: Web: Contact: Eric B. Fjelstad Specialty: Trademark Law, Intellectual Property

ARIZONA LEWIS ROCA ROTHGERBER, LLP One S. Church Ave., Ste. 700 Tucson, AZ 85701 520-629-4428 Fax 520-879-4725 E-mail: Web: Contact: Anne, Aikman-Scalese, of Counsel Specialty: Intellectual Property, Trademarks & Copyrights PERKINS COIE 2901 N. Central Ave., Ste. 2000 Phoenix, AZ 85012-2788 602-351-8000 Fax 602-648-7000 E-mail: Web: Contact: David J. Palmer Specialty: Trademark Law, Intellectual Property SANDERS & PARKS, PC 3030 N. Third St., Ste. 1300 Phoenix, AZ 85012 602-532-5600 Fax 602-532-5700 Web: Specialty: Intellectual Property SNELL & WILMER One Arizona Center

ANDREW STERN 9100 Wilshire Blvd. Ste. 715, E. Beverly Hills, CA 90212 310-274-8507 Fax 310-274-2080 E-mail: *No unsolicited material

P.O. Box 1497 Santa Barbara, CA 93102 805-964-9777, 805-456-3906 E-mail: JACK NELSON JONES & BRYANT, PA One Cantrell Center 2800 Cantrell Rd., Ste. 500 Little Rock, AR 72202 501-375-1122 Fax 501-375-1027 Web: Specialty: Intellectual Property

ARNOLD & PORTER 777 S. Figueroa St.. 44th Fl. Los Angeles, CA 90017 213-243-4000 Fax 213-243-4199 Web: Specialty: all areas, intellectual property/tech. *No unsolicited material

ROSE LAW FIRM 120 E. Fourth St. Little Rock, AR 72201-2893 501-375-9131 Fax 501-375-1309 E-mail: Web: Specialty: Intellectual Property

Additional locations: Three Embarcadero Center, 10th Fl. San Francisco, CA 94111 415-471-3100 Fax 415-471-3400 1801 Page Mill Rd., Ste. 110 Palo Alto, CA 94304 650-798-2920, Fax 650-798-2999

WRIGHT, LINDSEY & JENNINGS, LLP 200 W. Capitol Ave., Ste. 2300 Little Rock, AR 72201 501-371-0808 Web: Contact: Michelle Kaemmerling Specialty: Intellectual Property

ARTHUR T. BERGGREN 611 1/2 Ocean Park Blvd. Santa Monica, CA 90405 310-392-3088 E-mail: Specialty: music law *No unsolicited material

Additional location: 3333 Pinnacle Hills Pkwy., Ste. 510 Rogers, AR 72758 479-986-0888

MORRIS, YORN, BARNES, LEVINE, KRINTZMAN, RUBENSTEIN, KOHNER AND GELLMAN 2000 Ave. of the Stars N. 3rd Fl. Los Angeles, CA 90067 310-319-3900 Fax 310-319-3999

CALIFORNIA ABRAMS, GARFINKEL, MARGOLIS, BERGSON, LLP 5900 Wilshire Blvd., Ste. 2250 Los Angeles, CA 90036 310-300-2900 E-mail: Web:

BARRY K. ROTHMAN 1901 Ave. of the Stars, Ste. 370 Los Angeles, CA 90067 310-557-0062 Fax 310-557-9080 Web: Specialty: all areas *No unsolicited material

Additional location: 1430 Broadway, 17th Floor New York, NY 10018 AKIN, GUMP, STRAUSS, HAUER & FELD, LLP 2029 Century Park E., Ste. 2400 Los Angeles, CA 90067 213-229-1000 E-mail: Web:

C O M P I L E D 66 January 2015

Additional locations:

400 E. Van Buren St., Ste. 1900 Phoenix, AZ 85004-2202 602-382-6000 Fax 602-382-6070 E-mail: Web: Specialty: Intellectual Property


BERGER KAHN, A LAW FIRM Main Office 2 Park Plaza, Ste. 650 Irvine, CA 92614 949-474-1880 Fax 949-474-7265 E-mail: Web: Specialty: Contract negotiation, intellectual property, copyright, publishing, digital rights, creative rights, merchandise licensing, royalties



calculations, management, touring, recording, digital downloading. Expert witness and litigation consulting services *No unsolicited material Additional offices: 4551 Glencoe Ave., Ste. 245 Marina del Rey, CA 90292 310-578-6800 10085 Carroll Canyon Rd., Ste. 210 San Diego, CA 92131 858-547-0075 300 Tamal Plaza, Ste. 215 Corte Madera, CA 94925 415-891-3321 LEE JAY BERMAN The Mediation Offices of Lee Jay Berman 11355 Olympic Blvd., Suite 111 Los Angeles, CA 90064 310-478-5600 E-mail: Web: BEVERLY HILLS BAR ASSOCIATION 9420 Wishire Blvd. 2nd Fl. Beverly Hills, CA 90212 310-601-2422 Web: BINGHAM The Water Garden, Ste. 2050 N. 1601 Cloverfield Blvd. Santa Monica, CA 90404 310-907-1000 E-mail: Web: Contact: Jonathan A. Loeb BLOOM, HERGOTT, DIEMER, ROSENTHAL, LAVIOLETTE & FELDMAN, & GOODMAN, LLP 150 S. Rodeo Dr., 3rd Fl. Beverly Hills, CA 90212 310-859-6800 Fax 310-859-2788 *No unsolicited material BRET D. LEWIS, LAW OFFICES OF Santa Monica Wellesley Plaza 12304 Santa Monica Blvd., Ste. 107A Los Angeles, CA 90025 310-207-0696 Fax 310-362-8424 E-mail: Web: CALIFORNIA LAWYERS FOR THE ARTS 1641 18th St. Santa Monica, CA 90404 310-998-5590 888-775-8995 E-mail: Web: Specialty: Lawyer Referral Service, Mediation/ Arbitration *Additional offices in Sacramento and San Francisco CHRISTOPHER J. OLSEN, LAW OFFICES OF 3075 E. Thousand Oaks Blvd., Ste. 100 Westlake Village, CA 91362 805-557-0660 Fax 805-491-8324 Web: Practice Areas: Entertainment Law, Music Law, Contract Negotiation, Business and Transactional Matters, Civil Litigation. 30 years experience Additional Specialty: Studio and Performance Bass Player. I share musicians’ concerns because I am one. DAVIS, SHAPIRO, LEWIT, GRABEL, LEVIN, GRANDERSON & BLAKE 150 S. Rodeo Dr., Ste. 200 Beverly Hills, CA 90212 310-248-3400 Fax 310-278-4457 E-mail: Web: Specialty: Entertainment Law Additional location: 414 West 14th Street, 5t Fl New York, NY 10014 212-230-5500

Download at D. BURGUNDY MORGAN, ESQ. ONE LLP 4000 MacArthur Blvd., West Tower, Ste. 110 Newport Beach, CA 92660 855-466-3557, 949-502-2870 E-mail: Web: Contact: D. Burgundy Morgan, Esq. Specialty: Entertainment Law Additional location:

FISHBACH, PERLSTEIN, LIEBERMAN & ALMOND, LLP 1925 Century Park E., Ste. 2050 Los Angeles, CA 90067 310-556-1956 Fax 310-556-4617 E-mail: Web: Contact: Michael Perlstein Specialty: all areas *No unsolicited material

9301 Wilshire Blvd. Penthouse Suite Beverly Hills, CA 90212 855-466-357, 310-866-5157

FOX LAW GROUP 14724 Ventura Blvd., PH Sherman Oaks, CA 91403 818-461-1740 Fax 818-461-1744 Web: E-mail: Contact: Samuel J. Fox Specialty: All forms of entertainment transactions *No unsolicited material

DEAN SHELDON SERWIN The Taft Building 1680 N. Vine St., Ste. 1115 Hollywood, CA 90028-8838 323-465-1735 E-mail: Web: Specialty: full-service for entertainment industry, including: records, publishing, online, video game, film and television, management, licensing, trademark, music clearance. Selected “shopping” DIAMOND & WILSON 12304 Santa Monica Blvd., Ste. 300 Los Angeles, CA 90025 310-820-7808 Specialty: all areas except litigation and demo shopping *No unsolicited material DIJULIO LAW GROUP 330 N. Brand Blvd., Ste. 702 Glendale, CA 91203 818-660-1582 Toll Free: 888-200-9557 E-mail: Web: Specialty: Record contracts, music publishing, licenses Additional location: 6 Woodard Ave. Absarokee, MT 59001 DONALD & CALLIF 400 S. Beverly Dr., Ste. 400 Beverly Hills, CA 90212 310-277-8394, Fax 310-277-4870 E-mail: Web: *No unsolicited material DONALD S. PASSMAN Gang, Tyre, Ramer & Brown, Inc. 132 S. Rodeo Dr. #306 Beverly Hills, CA 90212-2414 310-777-4800 *No unsolicited material DOUGLAS C. WICKS 8405 Pershing Dr., Ste. 500 Playa del Rey, CA 90293 310-578-6528 E-mail: Web: Specialty: litigation *No unsolicited material DRINKER BIDDLE 1800 Century Park E., Ste. 1500 Los Angeles, CA 90067 310-203-4000, 310-229-1285 Web: Contact: Sheldon Eisenberg *No unsolicited material EDELSTEIN, LAIRD & SOBEL 9255 Sunset Blvd., Ste. 800 Los Angeles, CA 90069 310-274-6184 Fax 310-274-6185 E-mail: Web: Specialty: all areas except demo shopping *No unsolicited material ERIC NORWITZ 3333 W. Second St., Ste. 52-214 Los Angeles, CA 90004-6149 213-389-3477 E-mail: Specialty: entertainment law and litigation *Unsolicited material accepted FINDELLE LAW & MANAGEMENT 2029 Century Park E., Ste. 900 Los Angeles, CA 90067 310-552-1777 Fax 310-286-1990 E-mail: Contact: Stann Findelle, Esq. Specialty: manager and recording agreements, production, actors, broadcasting and publishing *Call before sending material

FREDRIC W. ANSIS Reed Smith, LLP 1901 Ave. of the Stars, Ste. 700 Los Angeles, CA 90067 310-734-5200 Fax 310-734-5299 E-mail: Web: Specialty: Music & Advertising

HEICKLEN LAW OFFICES 16255 Ventura Blvd., Ste. 515 Encino, CA 91436 818-907-7771 Contact: Michael Heicklen HELMER, FRIEDMAN, LLP 8522 National Blvd., Ste. 107 Culver City, CA 90232 310-396-7714 Fax 310-396-9215 E-mail: Web: Contact: Ken Helmer Specialty: all areas *No unsolicited material IRELL & MANELLA, LLP 1800 Ave. of the Stars, Ste. 900 Los Angeles, CA 90067 310-277-1010 Fax 310-203-7199 E-mail: Web: Additional location: 840 Newport Center Dr., Ste. 400 Newport Beach, CA 92660-6324 949-760-0991 Fax 949-760-5200

GANG, TYRE, RAMER & BROWN, INC. 132 S. Rodeo Dr. Beverly Hills, CA 90212 310-777-4800 *No unsolicited material

ISAACMAN, KAUFMAN & PAINTER 10250 Constellation Blvd., Ste. 2900 Los Angeles, CA 90067 310-881-6800 Fax 310-881-6801 Web: E-mail: *No unsolicited material

GERRY BRYANT, ESQ. 9903 Santa Monica Blvd., Ste. 1007 Beverly Hills, CA 90212 310-301-2728 Web: E-mail: *No unsolicited material or deal shopping.

JACKOWAY, TYERMAN, WERTHEIMER, AUSTEN, MANDELBAUM, & MORRIS & KLEIN 1925 Century Park E., 22nd. Fl. Los Angeles, CA 90067 310-553-0305 *No unsolicited material

GIBSON, DUNN & CRUTCHER, LLP 333 S. Grand Ave., 47th Fl. Los Angeles, CA 90071 213-229-7000 Fax 213-229-7520 E-mail: Web: *No unsolicited material

JAY COOPER (Greenberg Traurig LLP) 1840 Century Park E., Ste. 1900 Los Angeles, CA 90067 310-586-7700 E-mail: Web: Specialty: entertainment law and copyright, 30 offices worldwide

Additional location: 2029 Century Park E., Ste 4000 Los Angeles, CA 90067-3026 310-552-8500 Fax 310-551-8741 *See web for offices in other US cities and the world GLADSTONE MICHEL WEISBERG WILLNER & SLOANE 4551 Glencoe Ave., Ste. 300 Marina del Rey, CA 90292 310-821-9000 Fax 310-775-8775 E-mail: Web: Specialty: Contract negotiation, intellectual property, copyright, publishing, digital rights, creative rights, merchandise licensing, royalties calculations, management, touring, recording, digital downloading, entertainment insurance, expert witness and litigation consulting services *No unsolicited material. LAW OFFICES OF GLENN T. LITWAK, A PROFESSIONAL CORPORATION 201 Santa Monica Blvd., Ste. 300 Santa Monica, CA 90401 310-858-5574 Fax 310-207-4180 E-mail: Web: GREENBERG, GLUSKER 1900 Ave. of the Stars, 21st Fl. Los Angeles, CA 90067 310-553-3610 Web: *No unsolicited material SCOTT HARRINGTON, ESQ. Harrington Music Law Group, PC 2001 Wilshire Blvd., Ste. 400 Santa Monica, CA 90403 310-315-9222 Fax 310-315-9225 E-mail: HARTFORD O. BROWN, ESQ. Klinedinst, PC 777 S. Figueroa St., Ste. 2800 Los Angeles, CA 90017 213-406-1100 Fax 406-1101 E-mail: Web: Specialty: Entertainment, contractual/ transactional, intellectual property, general litigation *No unsolicited material.

JEFFREY L. GRAUBART 100 Corson St., Third Fl. Pasadena, CA 91103 626-304-2800 E-mail: Web: Specialty: copyrights and litigation *Unsolicited material accepted JOHNSON & JOHNSON, LLP 439 N. Canon Dr., Ste. 200 Beverly Hills, CA 90210 310-975-1080 Fax 310-975-1095 E-mail: Web: Contact: Neville L. Johnson Specialty: litigation and contracts *No unsolicited material JONATHAN STEIN, LAW OFFICES OF 1999 Ave. of the Stars, Ste. 1100 Los Angeles, CA 90067-4618 310-587-2277 E-mail: Web: *No unsolicited material KATTEN, MUCHIN, ROSENMAN, LLP 2029 Century Park E., Ste. 2600 Los Angeles, CA 90067 310-788-4400 E-mail: Web: KENOFF & MACHTINGER, LLP 1801 Ave. of the Stars, Ste. 1520 Los Angeles, CA 90067 310-552-0808 Fax 310-277-0653 Web: E-mail: Specialty: contracts, litigation *No unsolicited material, no shopping KING, HOLMES, PATERNO & BERLINER, LLP 1900 Ave. of the Stars, 25th Fl Los Angeles, CA 90067 310-282-8989 Web: Specialty: Entertainment Music Law Additional locations: 75 Broadway, Suite 202 San Francisco, CA 94111 415-361-4084

KLEINBERG, LANGE, CUDDY, CARLO, LLP 11111 Santa Monica Blvd., Ste 1750 Los Angeles, CA 90025 310-286-9696 E-mail: Web: Specialty: contracts and publishing *No unsolicited material LAPOLT LAW, PC 9000 Sunset Blvd., Ste. 800 Los Angeles, CA 90069 310-858-0922 Fax 310-858-0933 E-mail:, Web: Contact: Dina LaPolt, Katrina Bleckley’s Specialties: All areas relating to music, film, television, merchandising and book publishing. LEE RUDNICKI, LAW OFFICES OF 9595 Wilshire Blvd., Ste. 900 Beverly Hills, CA 90212 310-300-8407 Fax 310-300-8401 E-mail: Web: Specialty: music, film and television LEWIS, BRISBOIS, BISGAARD & SMITH, LLP 221 N. Figueroa Street, Suite 1200 Los Angeles, CA 90012 213-250-1800 Web: Contact: William Archer Specialties: Entertainment Law *No unsolicited materials LICHTER, GROSSMAN, NICHOLS, ADLER & FELDMAN 9200 Sunset Blvd., Ste. 1200 Los Angeles, CA 90069 310-205-6999 Fax 310-205-6990 *No unsolicited material LOEB & LOEB, LLP 10100 Santa Monica Blvd., Ste. 2200 Los Angeles, CA 90067 310-282-2000 Fax 310-282-2200 E-mail: Web: Contact: Mickey Mayerson Specialty: all areas MANATT, PHELPS & PHILLIPS 11355 W. Olympic Blvd. Los Angeles, CA 90064 310-312-4000 Fax 310-312-4224 E-mail: Web: Specialty: all areas *No unsolicited material Additional locations: 695 Town Center Dr., 14th Fl. Costa Mesa, CA 92626 714-371-2500 Fax 714-371-2550 1841 Page Mill Rd., Ste. 200 Palo Alto, CA 94304 650-812-1300 Fax 650-213-0260 One Embarcadero Center - 30th Fl. San Francisco, CA 94111 415-291-7400 Fax 415-291-7474 1215 K Street, St., Ste. 1900 Sacramento, CA 95814 916-552-2300 Fax 916-552-2323

MARIO F. GONZALEZ, ESQ. 10940 Wilshire Blvd., Ste. 1600 PBM#674 Los Angeles, CA 90024 818-707-3894 E-mail: Web: Specialty: music attorney Additional location: 3200 Cartwright Rd. Reno, CA 89521 MARK “ABBA” ABBATTISTA 311 N. Robertson Ave. Ste. 505 Beverly Hills, CA 90211 818-991-7399 E-mail: Specialty: all areas *Unsolicited material accepted MARTY O’TOOLE 1999 Ave. of the Stars, Ste. 1100 Los Angeles, CA 90067 310-888-4000 E-mail: Web: Specialty: Contracts, copyright, trademark,

January 2015


Annual Directory of Music Attorneys demo shopping, negotiation, music video, publishing, band agreements, LLC, litigation *Unsolicited material accepted MAURO FIORE, JR., LAW OFFICE OF 1901 W. Pacific Ave., Ste. 260 W. Covina, CA 91790 626-593-9031, 866-583-9564 Web: Additional location: 80 S. Lake Ave., Ste. 710 Pasadena, CA 91101 McLANE & WONG 11135 Weddington St., Ste. 424 N. Hollywood, CA 91601 818-587-6801 Fax 818-587-6802 E-mail: Web: Specialty: contracts, negotiation *Unsolicited material accepted McPHERSON & ASSOCIATES 1801 Century Park E., 24th Fl. Los Angeles, CA 90067 310-553-8833 E-mail: Web: *No unsolicited material Additional locations: 840 Wainee St., Ste. 104 Lahaina, Maui, HI 92701 808-662-4884 MICHAEL J. MARONEY, ESQ. 3230 Van Allen Pl. Topanga Canyon, CA 90290 818-592-0477 E-mail: Web: MICHAEL MACHAT 433 N. Camden Dr., Ste. 730 Beverly Hills, CA 90210 310-860-1833 Fax 310-860-1837 E-mail: Web: Specialty: all areas MICHAEL R. MORRIS Valensi Rose PLC 1888 Century Park E., Ste. 1100 Los Angeles, CA 90067 310-277-8011, Fax 310-277-1706 E-mail: Web: Specialty: Full-service music law, including recording, producer, production company and soundtrack agreements, master use and synchronization licenses; artist and label representation; entertainment tax law *Unsolicited materials on a very selective basis MORRIS MUSIC LAW 475 Washington Blvd. Marina del Rey, CA 90292 310-439-3737, Cell 310-854-2525 E-mail: Web: Contact: Jesse E. Morris, Attorney at Law Specialty: Contract drafting, advising, and negotiations, copyright law, and publishing and recording agreements

MUSIC ATTORNEY, LEGAL & BUSINESS AFFAIRS REGISTRY 7510 Sunset Blvd., Ste. 1041 Los Angeles, CA 90046-3418 800-552-7411 818-781-1974 E-mail: Web: MYMAN, ABELL, FINEMAN, GREENSPAN & LIGHT 11601 Wilshire Blvd., Ste. 2200 Los Angeles, CA 90025 310-231-0800 Web: Specialty: all areas *No unsolicited material NEAL TABACHNICK, ESQ. Wolf, Rifkin, Shapiro, Schulman & Rabkin, LLP 11400 W. Olympic Blvd., 9th Fl. Los Angeles, CA 90064-1557 310-478-4100 Fax 310-479-1422 E-mail: *Does not shop material NOLAN HEIMANN 9701 Wilshire Blvd., Ste. 1000 Beverly Hills, CA 90212 310-274-9701 E-mail: Web:

68 January 2015

Specialty: Music and Entertainment Law Additional location:

16350 Ventura Blvd, Ste. D265 Encino, CA 91436 818-574-5710 Oâ&#x20AC;&#x2122;MELVENY & MYERS 1999 Ave. of the Stars, 7th Fl. Los Angeles, CA 90067 310-553-6700 Fax 310-246-6779 Web: *No unsolicited material Additional location: 400 S. Hope St. Los Angeles, CA 90071-2899 213-430-6000 Fax 213-430-6407 PERKINS COIE 1888 Century Park E, Ste. 1700 Los Angeles, CA 90067-1721 310-788-9900 Fax 310-788-3399 E-mail: Web: Contact: Ronald (Ron) A. McIntire Specialty: Trademark Law, Intellectual Property Additional locations: Four Embarcadero Center, Ste. 2400 San Francisco, CA 94111 415-344-7000 Fax 415-344-7050 E-mail: Contact: Barbara J. Schussman 3150 Porter Drive Palo Alto, CA 94304 650-838-4300, Fax 650-838-4350 E-mail: Contact: Christopher Kao PIERCE LAW GROUP, LLP 9100 Wilshire Blvd., Ste. 225, E. Tower Beverly Hills, CA 90212-3415 310-274-9191 Fax 310-274-9151 E-mail: Web: Contact: David Albert Pierce Specialty: contracts *No unsolicited material accepted, no shopping. PILLSBURY WINTHROP SHAW PITTMAN, LLP Four Embarcadero Center, 22nd Fl. San Francisco, CA 94111 415-983-1000 E-mail: Web: Contact: Cydney A. Tune Specialty: All areas, including intellectual property and technology *No unsolicited material PROBSTEIN & WEINER & BUTLER 1299 Ocean Ave., Ste. 306 Santa Monica, CA 90401 310-836-1400 Fax 310-836-1481 E-mail: Web: *No unsolicited material PROSKAUER, ROSE, LLP 2049 Century Park E. Los Angeles, CA 90067 310-557-2900 Fax 310-557-2193 E-mail: Web: Contact: Michael A. Woronoff Specialty: practice limited to litigation of commercial and entertainment related disputes *No unsolicited material RANDAL NEAL COHEN 12100 Wilshire Blvd., Ste. 1250 Los Angeles, CA 90025 310-826-8082, 800-718-4658 E-mail: Web: Specialty: all areas except demo shopping. *Unsolicited material accepted

Additional location: 355 S. Grand Ave., Ste. 2900 Los Angeles, CA 90071 RICHARD JOSEPH, LAW OFFICES OF 9720 Wilshire Blvd., Ste. 700 Beverly Hills, CA 90212 310-248-2900 E-mail: Web: Specialty: All areas of music law. *No unsolicited material ROBERT S. GREENSTEIN, ESQ. Greenstein Law Offices 22911 Crespi St. Woodland Hills, CA 91364 818-225-8917 Fax 818-225-9010 E-mail: Web: Specialty: Full-service entertainment industry business and legal affairs *Please contact the office before submitting any material ROGERS & HARRIS 520 S. Sepulveda, Ste. 204 Los Angeles, CA 90049 310-471-3170 Fax 310-471-3276 E-mail: Web: Contact: Michael Harris Specialty: contracts *No unsolicited material ROHDE & VICTOROFF 1880 Century Park E., Ste. 411 Los Angeles, CA 90067 310-277-1482 Fax 310-277-1485 E-mail: Web: Contact: Greg Victoroff Specialty: all areas *Unsolicited material accepted RONALD A. LITZ, LAW OFFICES OF 9255 Sunset Blvd., Ste. 920 Los Angeles, CA 90069-3306 310-201-0100 Fax 310-201-0226 Web: *No unsolicited material

SNELL & WILMER Two California Plaza 350 S. Grand Ave., Ste. 2600 Los Angeles, CA 90071 213-929-2500 Fax 213-929-2525 E-mail: Web: Specialty: Intellectual Property Additional location: Plaza Tower 600 Anton Blvd., Ste. 1400 Costa Mesa, CA 92626-7689 714-427-7000 Fax 714-427-7799 STEPHEN E. SESSA, ESQ. Reed Smith, LLP 1901 Ave. of the Stars, Ste. 700 Los Angeles, CA 90067 310-734-5200 Fax 310-734-5299 E-mail: Web: Contact: Stephen E. Sessa STEVEN R. LOWY ISAACMAN, KAUFMAN & PAINTER, PC MGM Tower 10250 Constellation Blvd., Ste. 2900 Los Angeles, CA 90067 310-881-6800 E-mail: Web: TYLER & WILSON, LLP 5455 Wilshire Blvd., Ste. 1925 Los Angeles, CA 90036 323-655-7180 E-mail: Web: Contact: Christine J. Wilson Specialty: Music and Business Law WESTON, GARROU, MOONEY 12121 Wilshire Blvd., Ste. 525 Los Angeles, CA 90025 310-442-0072 Web: Contact: Jerome H. Mooney Specialty: Music Law, Entertainment Law

ROSENFELD, MEYER & SUSMAN 232 N. Canon Dr., 2nd Fl. Beverly Hills, CA 90210 310-858-7700 Fax 310-860-2430 Web: E-mail: *No unsolicited material

ZIFFREN, BRITTENHAM, BRANCA, FISHER, GILBERT-LURIE, STIFFELMAN, COOK, JOHNSON & LANDE & WOLF, LLP 1801 Century Park W. Los Angeles, CA 90067 310-552-3388 Fax 310-553-7068 Specialty: all areas *No unsolicited material

SALLY KOENIG Koenig Law Offices 606 Hanley Ave. Los Angeles, CA 90049 310-440-9290 E-mail: Web: Specialty: Artist and label representation in all areas. Draft and negotiate agreements. *Unsolicited material accepted, email for permission

CLINE, WILLIAMS, WRIGHT, JOHNSON & OLDFATHER, LLP 123 N. College Ave., Ste. 300 Fort Collins, CO 80524 970-221-2637 Fax 970-221-2638 Web: Specialty: Intellectual Property and Technology Law

SCHLEIMER & FREUNDLICH, LLP 433 North Camden Dr., Suite 600 Beverly Hills, CA 90210 310-273-9807 Fax 424-273-6304 E-mail: Web: *No unsolicited material SEDGEWICK, DETERT, MORAN & ARNOLD, LLP 801 S. Figueroa St., 19th Fl. Los Angeles, CA 90017 213-426-6900 Fax 213-426-6921 E-mail: Web: Contact: Craig S. Barnes Specialty: Represents clients in US, Canada, Europe and Japan in all areas of music, Internet/digital, TV, radio, content, licensing and distribution

REBEL ROY STEINER, JR. Loeb & Loeb LLP 10100 Santa Monica Blvd., Ste. 2200 Los Angeles, CA 90067 310-282-2051 Fax 310-919-3038 E-mail: Web:

SILVER & FREEDMAN, APLC 2029 Century Park E., 19th Fl. Los Angeles, CA 90067 310-282-9400 E-mail: Web: SilverFreedman

REED SMITH, LLP 1901 Ave. of the Stars, Ste. 700 Los Angeles, CA 90067 310-734-5200 Fax 310-734-5299 E-mail:, ssessa@ Web: Contact: Fredric W. Ansis or Stephen E. Sessa

SINDEE LEVIN, ESQ. 149 S. Barrington Ave. #810 Los Angeles, CA 90049 310-440-8778 Fax 310-440-0059 E-mail: Web:, Specialty: Music & Entertainment Law *No Unsolicited materials accepted


COLSON-QUINN, ATTORNEYS AT LAW 1503 Spruce Boulder, CO 80302 303-447-0975 E-mail: Web: Contact: Joyce Colsen Specialty: Trademark Law, Intellectual Property HOLLAND & HART 555 Seventeenth St., Ste. 3200 Denver, CO 80202-3979 303-295-8000 303-295-8242 E-mail: Web: Contact: Katherine A. LeVoy Specialty: Intellectual Property KEVIN E. HOUCHIN, ATTORNEY & COUNSELOR AT LAW 520 N. Sherwood, #5 Fort Collins, CO 80521 319-383-1859 Fax 888-524-8248 E-mail: Web: Contact: Kevin E. Houchin Specialty: Consulting for creative people. LEYENDECKER & LEMIRE, LLC 5460 S Quebec St., Ste. 330 Greenwood, CO 80111 303-768-0123 E-mail: Web: Specialty: Copyright Law, Trademark Law, Intellectual Property

Download at PERKINS COIE 1900 Sixteenth St., Ste. 1400 Denver, CO 80202-5255 303-291-2300 Fax 303-291-2400 E-mail: Web: Contact: Leonard (Len) H. MacPhee Specialty: Trademark Law, Intellectual Property

MARKS, O’NEILL, O’BRIEN & COURTNEY 300 Delaware Ave., Ste. 900 Wilmington, DE 19801 302-658-6538 Fax 302-658-6537 E-mail: Web: Contact: Dawn Doherty Specialty: Intellectual Property


REPLIN RHOADES LAW GROUP, LLC 222 Milwaukee St., Ste. 304 Denver, CO 80206 303-322-7919 Web: Contact: Steve Replin or Laurie Rhoades, Dave Ratner Specialty: Entertainment Law, Copyright Law, Intellectual Property

ADAMS AND REESE, LLP 1050 Connecticut Ave., N.W. Washington, DC 20036 202-662-1000 Web: Specialty: Entertainment Law, Music Law, Intellectual Property

SNELL & WILMER 1200 Seventeenth St., Ste. 1900 Denver, CO 80202-5854 303-634-2000 Fax 303-634-2020 E-mail: Web: Specialty: Intellectual Property

321 N. Clark St. Chicago, IL 60610 312-988-5000 E-mail:

CONNECTICUT CACACE TUSCH & SANTAGATA 777 Summer St. Stamford, CT 06901-1022 203-327-2000 Web: Specialty: Intellectual Property

Additional location:

BERLINER, CORCORAN & ROWE 1101 17th St. N.W., Ste. 1100 Washington, DC 20036 202-293-5555 E-mail: Web: Specialty: Entertainment Law, Copyright Law and Internet Law

GIARNIERO & ASSOCIATES, LLC 972 E. Broadway Stratford, CT 06615 203-375-3994 Fax 203-386-0401 Web: Contact: Richard Giarniero Specialty: Intellectual Property

GARVEY, SCHUBERT & BARER Flour Mill Bldg. 1000 Potomac St. N.W. 5th Fl. Washington, DC 20007-3501 202-965-7880 Fax 202-965-1729 E-mail: Web: Contact: Matthew R. Schneider Specialty: Entertainment Law

GRIMES & BATTERSBY, LLC 488 Main Ave., Ste. 200 Norwalk, CT 06851 203-849-8300, Fax 203-849-9300 Web: Contact: Michael R. Patrick, Partner Specialty: Entertainment, branding, trademarks, copyrights, licensing and litigation

KATTEN MUCHIN ROSENMAN, LLP 2900 K St. N.W. North Tower, Ste. 200 Washington, DC 20007-5118 202-625-3500 Fax 202-298-7570 E-mail: Web: Contact: Roger P. Furey

Additional locations:

MANATT, PHELPS & PHILLIPS 700 12th St., N.W. , Ste. 1100 Washington, DC 20005-4075 202-585-6500 Web: Specialty: all areas

200 W. 57th St., Ste. 1403 New York, NY 10019 914-698-1305 15139 Brolio Lane Naples, FL 34110 239-330-9000 OHLANDT GREELEY RUGGIERO & PERLE, LLP One Landmark Sq., 10th Fl. Stamford, CT 06901-2682 203-327-4500 Fax 203-327-6401 E-mail: Web: Specialty: Intellectual Property ST. ONGE STEWARD JOHNSTON & REENS, LLC 986 Bedford St. Stamford, CT 06905 203-324-6155 Fax 203-327-1096 E-mail: Web: Specialty: Intellectual Property SUSAN L. MENDE 39 Jaffe Terr. Colchester, CT 06415 860-537-1176 E-mail: Contact: Susan L. Mende Specialty: Legal services. Majority of work involves developing clients image and marketability

DELAWARE FISH & RICHARDSON, PC 222 Delaware Ave., 17th Fl. P.O. Box 1114 Wilmington, DE 19899-1114 302-652-5070 Fax 302-652-0607 E-mail: Web: Contact: William J. Marsden, Jr. Specialty: Intellectual Property JEFFREY R. RAMBERG, LAW OFFICE OF 273 E. Main St., Ste. G Newark, DE 19711 302-454-6414 Fax 302-454-6414 E-mail: Web: Contact: Jeffrey R. Ramberg Specialty: transactional intellectual property

PERKINS COIE 700 Thirteenth St., N.W., Washington, DC 20005-3960 202-654-6200 Fax 202-654-6211 E-mail: Web: Contact: William G. Malley Specialty: Trademark Law, Intellectual Property PROSKAUER, ROSE, LLP 1001 Pennsylvania Ave., N.W., Ste. 400 S. Washington, DC 20004-2533 202-416-6800 Fax 202-416-6899 E-mail: Web: Contact: Paul M. Hamburger, Partner Specialty: practice limited to litigation of commercial and entertainment related disputes *No unsolicited material STEPTOE & JOHNSON 1330 Connecticut Ave. N.W. Washington, DC 20036 202-429-3000 Fax 202-261-7537 Web: Specialty: Contracts and Intellectual Property VENABLE, LLP 575 7th St., N.W. Washington, DC 20004 202-344-4000 Fax 202-344-8300 Web: Specialty: Intellectual Property

FLORIDA ALLEN L. JACOBI 11077 Biscayne Blvd., Ste. 200 Miami, FL 33161 305-893-2007 E-mail: Web: Contact: Allen Jacobi Specialty: All entertainment-related services DAVID BERCUSON, PA, LAW OFFICES OF Town Center One, Ste. 1813

8950 Southwest 74 Court Miami, FL 33156 305-670-0018 Fax 305-670-0019 E-mail: Web: Contact: David Bercuson Specialty: specialist in domestic & foreign music licensing and obtaining deals for artists PROSKAUER, ROSE, LLP 2255 Glades Rd., Ste. 421 Atrium Boca Raton, FL 33431-7360 561-241-7400, Fax 561-241-7145 E-mail: Web: Contact: David Pratt Specialty: practice limited to litigation of commercial and entertainment related disputes *No unsolicited material

GEORGIA ALAN S. CLARKE, LAW OFFICES OF 3355 Lenox Rd., Ste. 750 Atlanta, GA 30326 404-816-9800 Fax 404-816-0555 E-mail: Web: Contact: Alan Clarke Specialty: Intellectual Property BALSER & GRELL IP LAW, LLC 3330 Cumberland Blvd., Ste. 500 Atlanta, GA 30339 678-202-5990 E-mail: Web: Specialty: Patents, Trademarks, Copywrights

IDAHO DYKAS, SHAVER & NIPPER, LLP 1403 W. Franklin St. Boise, ID 83702-5024 208-345-1122, 877-611-1122 E-mail: Web: Specialty: Intellectual Property & Litigation HAWLEY, TROXELL, ENNIS & HAWLEY, LLP 877 Main St., Ste. 1000 Boise, ID 83702 208-344-6000 E-mail: Web: Specialty: Intellectual Property Additional locations: 250 NW Boulevard, Ste. 204 Coeur d’Alene, ID 83814 208-667-1300 333 S. Main St. Pocatello, ID 83204 208-233-0845 PEDERSEN AND COMPANY, PLLC 1410 N. 28th St. Boise, ID 83703 208-343-6355 Fax 208-343-6341 E-mail: Web: Contact: Ken J. Pedersen or Barbara S. Pedersen Specialty: Intellectual Property

HOLLAND & KNIGHT 1201 W. Peachtree St., Ste. 2000 Atlanta, GA 30309 404-817-8500 Fax 404-881-0470 E-mail: Web: Contact: J. Allen “Allen” Maines Specialty: Entertainment Law, Contract Law

PERKINS COIE 111 W. Jefferson St., Ste. 500 Boise, ID 83702-5391 208-343-3434 Fax 208-343-3232 E-mail: Web: Contact: Robert A. Maynard Specialty: Trademark Law, Intellectual Property

LOVETTE ENTERTAINMENT LAW GROUP, LTD. 702 Hillpine Dr., NE Atlanta, GA 30306 404-583-4095 Web: Contact: Cliff Lovette Specialty: Entertainment Law, Music Law, Film/TV Law, Copyrights

PARSONS, BEHLE & LATIMER 800 W. Main St. #1300 Boise, ID 83706 208-562-4900 Fax 208-562-4901 E-mail: Web: Contact: Dana M. Herberholz Specialty: Intellectual Property Litigation, Patents, Trademarks & Copyrights

MINTER & ASSOCIATES 5398 E. Mountain St. Stone Mountain, GA 30083 770-879-7400 Fax 770-879-5695 E-mail: Web: Contact: Kendall Minter Specialty: Entertainment Law, Intellectual Property SANDRA L. BROWN, PC, THE LAW OFFICES OF 191 Peachtree St., Ste. 3300 Atlanta, GA 30303 404-946-1850 Fax 404-946-1954 E-mail: Web: Contact: Sandra L. Brown Specialty: Music law BAKER HOSTETLER 1180 Peachtree St., N.E., Ste. 1800 Atlanta, GA 30309-0163 404-459-0050 E-mail: Web: Contact: Christopher M. Arena Specialty: Intellectual Property YEMANE CLARKE, ATTORNEY 5863 Redan Rd. Stone Mountain, GA 30088 770-450-8003 Web: Contact: Yemane Clarke Specialty: Entertainment Law

HAWAII MCPHERSON RANE, LLP 840 Wainee St., Ste. 104 Lahaina, Maui, HI 92761 808-662-4884 E-mail: Web: GODBEY, GRIFFITHS, REISS, LLLP 1003 Bishop St., Ste. 2300, Pauahi Twr. Honolulu, HI 96813 808-537-1014 Web: Specialty: Intellectual Property

ILLINOIS ENTERTAINMENT LAW OFFICE OF PC 208 S. LaSalle #1400 Chicago, IL 60604 312-641-5300 Fax 312-641-5301 E-mail: Web: Contact: Hillel Frankel Specialty: Intellectual Property Rights JAY B. ROSS & ASSOCIATES, PC 842 W. Grand Ave. Chicago, IL 60642-6565 312-633-9000 E-mail: Web: Contact: Jay B. Ross Specialty: Entertainment Law KATTEN, MUCHIN & ROSENMAN 525 W. Monroe St. Chicago, IL 60661 312-902-5200 Fax 312-902-1061 E-mail: Web: Contact: Gil M. Soffer Specialty: Trademark, Copyright, Entertainment Litigation LINDA S. MENSCH, PC 161 N. Clark St., Ste. 4300 Chicago, IL 60601 312-602-5049 Fax 312-698-7449 E-mail: Web: Contact: Linda Mensch Specialty: Entertainment Law LOEB & LOEB, LLP 321 N. Clark, Ste. 2300 Chicago, IL 60654 312-464-3100 Fax 312-464-3111 E-mail: Web: Specialty: all areas PERKINS COIE 131 S. Dearborn St., Ste. 1700 Chicago, IL 60603-5559 312-324-8400 Fax 312-324-9400

January 2015


Annual Directory of Music Attorneys E-mail: Web: Contact: Christopher (Chris) B. Wilson Specialty: Trademark Law, Intellectual Property SMITH AMUNDSEN, LLC 150 N. Michigan Ave., Ste. 3300 Chicago, IL 60601 312-894-3200 E-mail: Web: Contact: Larry A. Schechtman, Partner, Brian Rosenblatt Specialty: Ent., Media, Privacy, and Intellectual Property

INDIANA BARNES & THORNBURG, LLP 11 S. Meridian St. Indianapolis, IN 46204-3535 317-236-1313 Fax 317-231-7433 E-mail: Web: Contact: Robert T. Grand Specialty: Intellectual Property BENESCH ATTORNEYS AT LAW One American Sq., Ste. 2300 Indianapolis, IN 46282 317-632-3232 Fax 317-632-2962 Web: Specialty: Intellectual Property LEWIS & KAPPES, PC One American Sq., Ste. 2500 Indianapolis, IN 46282-0003 317-639-1210 Fax 317-639-4882 Web: Contact: Dave S. Klinestiver Specialty: Intellectual Property

IOWA MCKEE, VOORHEES & SEASE, PLC 801 Grand Ave., Ste. 3200 Des Moines, IA 50309-2721 515-288-3667 Web: Contact: Ed Sease Specialty: Intellectual Property

MIDDLETON REUTLINGER 401 S. Fourth St., Ste. 2600 Louisville, KY 40202 502-584-1135 E-mail: abrackett@middletonlaw Web: Contact: Alexander P. Brackett Specialty: Intellectual Property

LOUISIANA ADAMS AND REESE, LLP One Shell Sq. 701 Poydras St., Ste. 4500 New Orleans, LA 70139 504-581-3234 E-mail: Web: Contact: E. Paige Sensenbrenner Specialty: Entertainment Law, Music Law, Intellectual Property Additional location: 450 Laurel St., Ste. 1900 Baton Rouge, LA 70801 225-336-5200 E-mail: Contact: William D. Shea EVELINE, DAVIS & PHILLIPS 5811 Tchoupitoulas St. New Orleans, LA 70115 504-782-8803 E-mail: Web: Contact: Ashlye M. Keaton, Esq. Specialty: Entertainment Law, Copyright Law, Trademark Law MICHAEL D. ALLDAY 830 Union St., Ste. 301 New Orleans, LA 70112 800-465-6218 E-mail: Web: Contact: Michael D. Allday Specialty: Music Law, Entertainment Law


Additional location: 106 E. 6th St., Ste. 900 Austin, TX 78701 ZARLEY LAW FIRM, PLC Capital Sq. 400 Locust St., Ste. 200 Des Moines, IA 50309-2350 515-558-0200 Fax 515-558-7790 E-mail: Web: Specialty: Intellectual Property

KANSAS FLEESON, GOOING, COULSON & KITCH, LLC 1900 Epic Ctr. 301 N. Main St. Wichita, KS 67202 316-267-7361 E-mail: Web: Specialty: Intellectual Property FOULSTON SIEFKIN, LLP 1551 N. Waterfront Pkwy., Ste. 100 Wichita, KS 67206-4466 316-267-6371, 800-267-6371 Web: Specialty: Intellectual Property Additional locations: 534 S. Kansas Ave., Ste. 1400 Topeka, KS 66603-3436 785-233-3600 Fax 785-233-1610 32 Corporate Woods, Ste. 600 9225 Indian Creek Pkwy. Overland Park, KS 66210 913-498-2100 Fax 913-498-2101

KENTUCKY BINGHAM, GREENEBAUM, DOLL, LLP 300 West Vine St., Ste. 1100 Lexington, KY 40507 859-231-8500 Fax 859-255-2742 Web: Specialty: Intellectual Property LYNCH, COX, GILMAN & GOODMAN 500 W. Jefferson St., Ste. 2100 Louisville, KY 40202 502-589-4215 E-mail:

70 January 2015

Web: Specialty: Intellectual Property

EATON PEABODY, PA 80 Exchange St. Bangor, ME 04401 207-947-0111 Fax 207-942-3040 Web: Specialty: Intellectual Property Additional locations:

E-mail: Web: Specialty: Intellectual Property MARYLAND VOLUNTEER LAWYERS SERVICE One N. Charles St., Ste. 222 Baltimore, MD 21201 410-539-6800 E-mail: Web: VENABLE, LLP 750 E. Pratt St., Ste. 900 Baltimore, MD 21202 410-244-7400 Fax 410-244-7742 Web: Specialty: Intellectual Property Additional location: One Church St., 5th Fl. Rockville, MD 20850 301-217-5600 Fax 301-217-5617

MASSACHUSETTS ADLER, POLLOCK & SHEEHAN, PC 175 Federal St. 10th Fl. Boston, MA 02110-2210 617-482-0600 Fax 617-482-0604 Web: Specialty: Intellectual Property BINGHAM One Federal St. Boston, MA 02110-1726 617-951-8000 E-mail: Web: Specialty: Telecommunications, Media and Technology BURNS & LEVINSON, LLP 125 Summer St. Boston, MA 02110 617-345-3000 Fax 617-345-3299 E-mail: Web: Contact: Susan E. Stenger Specialty: Music Law, Litigation Additional locations: 175 Derby St., Ste. 6 Hingham, MA 02043 716-345-3000 300 Brickstone Sq., Ste. 201 Andover, MA 018110 978-662-5272

77 Sewall St., Ste. 3000 Augusta, ME 04330 207-622-3747 Fax 207-622-9732

281 Winter St. Waltham, MA 02451 781-487-0050

167 Park Row #1 Brunswick, ME 04011 207-729-1144 Fax 207-729-1140

CESARI & MCKENNA, LLP 88 Black Falcon Ave. Boston, MA 02210 617-951-2500 Fax 617-951-3927 Web: Specialty: Intellectual Property

RUDMAN & WINCHELL, LLC 84 Harlow St. P.O. Box 1401 Bangor, ME 04402-1401 207-947-4501 Fax 207-941-9715 E-mail: Web: Specialty: Intellectual Property & Copyright Law

MARYLAND CHARLES JEROME WARE, PA 10630 Little Patuxent Pkwy., Ste. 113 1000 Century Plaza Building Columbia, MD 21044 410-720-6129 E-mail: Web: *No unsolicited material LARRY J. GUFFEY 502 Washington Ave., Ste. 605 Towson, MD 21204 410-659-9550 E-mail: Web: Specialty: Intellectual Property, Trademark & Patents Additional location: 94 Narod Boulevard Water Mill, NY 11976 631-237-4891 MARKS, O’NEILL, O’BRIEN & COURTNEY 600 Baltimore Ave., Ste. 305 Towson, MD 21204 410-339-6880

DAVID HERLIHY, LAW OFFICES OF E-mail: Web: Contact: David Herlihy Specialty: Entertainment Law NOVAK DRUCE CONNOLLY BOVE & QUIGG LLP Saltonstall Building 100 Cambridge St., 21st Fl. Boston, MA 02114 617-367-4600 Fax 617-367-4656 Web: Specialty: Intellectual Property PATTI JONES, ATTORNEY AT LAW 20 Park Plaza Boston, MA 02116 617-948-2139 E-mail: Web: Contact: Patti Jones Specialty: music, literary publishing, media and independent film PROSKAUER, ROSE, LLP One International Pl., 14th Fl. Boston, MA 02110-2600 617-526-9600 E-mail: Web: Contact: Joseph A. Capraro, Jr. Specialty: practice limited to litigation of commercial and entertainment related disputes *No unsolicited material

WOLF, GREENFIELD & SACKS, PC 600 Atlantic Ave. Boston, MA 02210-2206 617-646-8000 Fax 617-646-8646 E-mail: Web: Contact: Sara Crocker, Dir. of Client Services Specialty: Intellectual Property

MICHIGAN DYKMA 400 Renaissance Ctr. Detroit, MI 48243 313-568-6800 Fax 313-568-6893 E-mail: Web: Contact: Sherrie Farrell Specialty: Intellectual Property Additional location: 2723 S. State St., Ste. 400 Ann Arbor, MI 48104 734-214-7660 Fax 734-214-7696 E-mail: Contact: James Cameron FOLEY & LARDER, LLP One Detroit Ctr. 500 Woodward Ave., Ste. 2700 Detroit, MI 48226-3489 313-234-7100 Fax 313-234-2800 Web: Specialty: Intellectual Property HERTZ SCHRAM 1760 S. Telegraph Rd., Ste. 300 Bloomfield Hills, MI 48302 248-494-4486. 866-775-5987 Web: Contact: Howard Hertz Specialty: Entertainment Law, Contracts, Litigation Additional location: Chrysler House 719 Griswold St. Ste. 820-128 Detroit, MI 48226 313-757-4724 HONIGMAN MILLER SCHWARTZ & COHN, LLP 2290 First National Bldg. 660 Woodward Ave. Detroit, MI 48226 313-465-7000 Web: Specialty: Intellectual Property Additional location: 222 N. Washington Sq., Ste. 400 Lansing, MI 48933 517-484-8282 E-mail: Contact: Kenneth Brooks JAFFE, RAITT, HEUER & WEISS 500 Griswold, Ste. 2400 Detroit, MI 48226 313-961-1200 Web: Specialty: Intellectual Property Additional location: 27777 Franklin Rd., Ste. 2500 Southfield, MI 48034 248-351-3000 REISING, ETHINGTON, PC 755 West Big Beaver Rd., Ste. 1850 Troy, MI 48084 248-689-3500 Fax 248-689-4071 E-mail: Web: Contact: Steven L. Permut Specialty: Intellectual Property Law


DORSEY & WHITNEY, LLP 50 S. Sixth St., Ste. 1500 Minneapolis, MN 55402-1498 612-340-2600 Fax 612-340-2868 E-mail: Web: Contact: Robert A. Rosenbaum Specialty: Intellectual Property LOMMEN ABDO COLE KING & STAGEBERG 2000 IDS Ctr., 80 S. Eight St. Minneapolis, MN 55402 800-752-4297 612-339-8131 Fax 612-339-8064 E-mail: Web: Contact: Ken Abdo Specialty: Music Law, Entertainment Law

“I got discovered in the studio, in Hollywood, because I was always there writing songs for other artists,” he explains. “Atlantic Records felt like my songs were good, but it wasn’t like in the old-school days where you play a demo and then you get a deal.” In Hollywood, he began working with A&R rep Shawn Barron of Atlantic Records. Barron has influenced the careers of Diggy Simmons, SPENCER, FANE, BRITT & BROWNE PATTERSON THUENTE, IP Phreshy Duzit and Drake, among others. were surfacing for 1 N. Offers Brentwood Blvd.,now Ste. 1000 4800 IDS Center St. Louis, MOresilient. 63105 80 8th St.$ign, yet the bond the two formed TyS.Dolla was 314-863-7733 Fax 314-862-4656 Minneapolis, MN 55402-2100 “Shawn and I had the relationship and that’s why we did our record E-mail: 612-349-5740, 800-4537-4537 Web: deal together,” he says. E-mail:

What we love most about this signing story is that the Chapel Hill, NC native considers artistic freedom and passion far more important than fame and money: “I [basically] went to every label and said, ‘Look, I’m Web: not goingIntellectual to accept anything less Specialty: Property than final cut. Offer what you will, but CLINE, WILLIAMS, WRIGHT, I’m not going to compromise that.’ JOHNSON & OLDFATHER, LLP 1125 S. 103rd 600 as an artist and I’d rather beSt.,aSte. failure Omaha, NE 68124 be unsuccessful than give up my 402-397-1700 Fax 402-397-1806 E-mail: freedom.” Web:

Download at

Web: Contact: Brad Thorson Specialty: Intellectual Property, Litigation, Arts & Entertainment Law

Contact: Glenn K. Robbins Specialty: Entertainment Law, Intellectual Property


MONTANA ANTOINETTE M. TEASE, PLLC MISSISSIPPI 175 N. 27th St, Ste. 1206 Label:AND Astralwerks ADAMS REESE, LLP(U.S.) / Virgin EMI (U.K.) Billings, MT 59101 300 Renaissance Publicity: Leslie Hermelin (Astralwerks) / 406-294-9000, 406-591-3689 1018 Highland Colony Pkwy., Ste. 800 E-mail: Janet Choudhury Ridgeland, MS 39157 (Virgin EMI U.K.) Web: 601-353-3234 Fax 601-355-9708 Web: Contact: Antoinette M. Tease Web: Intellectual Property and A&R: Jeremy Vuernick (Astralwerks) /Specialty: Specialty: Entertainment Law, Music Law, Technology Law Intellectual Property Jason Ellis (Virgin EMI U.K.) MISSOURI DANIEL R. FRIEDMAN Attorney at Law 377 Dinsmoor Dr. Chesterfield, MO 63077 314-469-7113, Cell 314-497-1060 E-mail: Roster: hip-hop artist Jeremih, platinum producer Mick Schultz Specialty: Entertainment HUSCH BLACKWELL 4801 Maine St., Ste. 1000 Kansas City, MO 64112 816-983-8000 Fax 816-983-8080 Web: Specialty: Media & Creative Arts Additional location: The Plaza in Clayton 190 Carondelet Plaza, Ste. 600 St. Louis, MO 63105 314-480-1500 Fax 314-480-1505 Web: Specialty: Copyrights to Publishing, Band Names to Merchandising

CROWLEY, FLECK, LLP 490 N. 31st St., Ste. 500 NAMED ONE Billings, MT 59101OF THE TOP “25 406-252-3441 Faxthe 406-256-8526 DJs That Rule Earth” in 2013 E-mail: (Rolling Stone) the 21-year-old EDM Web: Contact: Joe Kresslein producer entered a more alternative

realm with& WHITNEY, a new album DORSEY LLP in a deal Bank St., Ste.released 600 he125 signed with Astralwerks Missoula, MT 59802-4407 Records (an 866-770-7104 imprint of Capitol Music 406-721-6025 E-mail:in Group the U.S. and Virgin EMI in Web: Specialty: the U.K.). Intellectual Property For Robinson—who released his WORDEN THANE, PC 111 N.EP Higgins, Ste. 600 debut Spitfire through Skrillex’s P.O. Box 4747 vanity label choice was Missoula, MTOWSLA—the 59806 406-721-3400 easy. “I think800-337-3567 a lot of these labels Web: were looking for theProperty next ‘big’ EDM Specialty: Intellectual record, and that was obviously just notNEBRASKA going to work. It mostly came ABRAHAMS, KASLOW & CASSMAN, LLP down to finding the label that really 8712 W. Dodge Rd., Ste. 300 got my vision, and these guys totally Omaha, NE 68114 402-392-1250 402-392-0816 got it... They Fax were really excited.” E-mail:

Contact: John C. Miles Specialty: Intellectual Property & Technology Law


Additional location:

Label: Records 1900 U.S.Atlantic Bank Bldg. 233 S. 13th St. Publicity: Christina.Kotsamani dis@ Lincoln, NE 68508 402-474-6900 Web: KUTAK ROCK, LLP The Omaha Building A&R: Pete Ganbarg 1650 Farnam St. Omaha, NE 68102-2186 402-346-6000 Fax 402-346-1148 MITCHY COLLINS, half of Web: had spentIntellectual quite some time Specialty: Property

Specialty: Intellectual Property Litigation, Patents, Trademarks & Copyrights PHILIP A. KANTOR, PC, LAW OFFICES OF 1781 Village Center Cir., Ste. 120 Las Vegas, NV 89134 702-255-1300, 888-575-2295 E-mail: Web: Specialty: Intellectual Property SNELL & WILMER 3883 Howard Hughes Pkwy., Ste. 1100 Las Vegas, NV 89169-5958 702-784-5200 Fax 702-784-5252 E-mail: Web: Specialty: Intellectual Property Additional location: 50 West Liberty St., Ste. 510 Reno, NV 89511 775-785-5440

ROUNDS Manhattan’sWATSON indie/folk/pop Oh 10000 W. Charlestonact Blvd., Ste.Honey, 240 NV 89135 in search ofLas hisVegas, musical other half. Having 702-636-4902 Fax 702-636-4904 fallen in love with the idea of male-female a la Johnny Cash & June E-mail: PARSONAGE VANDENACK WILLIAMS, LLC Web: Carter, he St., reached around New York. He 17007 Marcy Ste. 3 out to the music community Specialty: Intellectual Property Omaha,Danielle NE 68118-3121 found Bouchard. Since then the two have created a name for 402-504-1300 Fax 402-504-1935 Additional location: themselves based upon positive lyrics and a sound befitting a group from Web: R. Vandnack aContact: much Joseph smaller town. 5371 Kietzke Ln. Specialty: Intellectual Property, Trademarks Reno, NV 89511 Thanks to several years of networking, Collins had made the acquain& Copyrights 775-324-4100 tance of numerous label and management people in New York, including E-mail: NEVADARecords, and that began to payWEIDE Atlantic off for Oh Honey. & MILLER, LTD GREENBERG, TRAURIG 7251 W. Lake Mead Blvd., Ste. 530 “I had known a handful of them for several years, just being around the 3773 Howard Hughes Pkwy., Ste. 400 N. Las Vegas, NV 89128 city and whatnot says ofFax the Atlantic signing. Las Vegas, NV 89169 and it all meshed,” Collins 702-382-4804 702-382-4805 702-792-3773 Faxsafe 702-792-9002 “It just felt and kind of easy, likeWeb: it was the right fit.” Web: Specialty: Intellectual property and Specialty: Entertainment and intellectual Though these singers found their match, it wasn’t without down days, technology law properties which is why they urge artists to keep the faith when times seem dire. PARSONS, BEHLE LATIMER NEW HAMPSHIRE “We’ve been at &this our whole lives and you’ll get a lot of doors slammed 50 West Liberty St., Suite 750 GALLAGHER, explains. CALLAHAN“But if you in your Reno, NVface 89501before you hear one ‘yes,’”&Bouchard GARTRELL, PC 775-323-1601 Fax 775-348-7250 love it and you want it, you have to keep for it.” 214fighting N. Main St. Web:

January 2014 2015 December

71 59

Annual Directory of Music Attorneys P.O. Box 1415 Concord, NH 03302-1415 603-228-1181 800-528-1181 Web: Specialty: Intellectual property MAINE, CERNOTA & RARDIN 547 Amherst St., 3rd Fl. Nashua, NH 03063-4000 603-886-6100 E-mail: Web: Specialty: Intellectual property SHAHEEN & GORDON, PA 80 Merrimack St. Manchester, NH 03101 603-635-4099 Web: Specialty: Trademark, Copyrights Additional locations: P.O. Box 2703 107 Storrs St. Concord, NH 03302 603-819-4231 P.O. Box 977 140 Washington St., 2nd Fl. Dover, NH 03821-0977 603-871-4144

NEW JERSEY MARKS, O’NEILL, O’BRIEN & COURTNEY 6981 N. Park Dr., Ste. 300 Pennsauken, NJ 08109 856-663-4300 Fax 856-663-4439 E-mail: Web: Specialty: Intellectual Property MCCARTER & ENGLISH, LLP 100 Mulberry St. Newark, NJ 07102 973-622-4444 Fax 973-624-7070 E-mail: Web: Specialty: Litigation, Intellectual Property, Trademark, Copyright, Contracts PAUL B. UNGAR 16 Monmouth Ave. Edison, NJ 08820 7320-692-4286 E-mail: Web: Contact: Paul Ungar Specialty: Entertainment Law, Intellectual Property, Trademark, Copyright PROSKAUER, ROSE, LLP One Newark Center Newark, NJ 07102 973-274-3200 E-mail: Web: Contact: Lawrence R. Sandak Specialty: practice limited to litigation of commercial and entertainment related disputes *No unsolicited material

NEW MEXICO DAVID CARLSON SMITH, PC 215 Lincoln Ave., Ste. 105 Santa Fe, NM 87501 505-988-8868 Web: Contact: David Carlson Smith Specialty: Entertainment Law, Copyright, Trademark Law LEWIS AND ROCCA, LLP 201 Third St. N.W., Ste. 1950 Albuquerque, NM 87102 505-764-5400 Fax 505-764-5480 E-mail: Web: Contact: Ross L. Crown Specialty: Intellectual Property, Trademarks & Copyrights

NEW YORK ARTHER LAW FIRM, THE One Rockefeller Plaza - 11th Fl. New York, NY 10020-1001 888-520-4529, 212-713-0138 Web: Contact: Anthony Arther Specialty: Free Consultation, Demo & Deal Shopping, Music, Film & Fashion matters Additional location: 670 Franklin Ave. Brooklyn, NY 11238

72 January 2015

ASSOCIATION OF THE BAR OF THE CITY OF N.Y. 42 W. 44th St. New York, NY 10036 212-626-7373 Web: BELDOCK, LEVINE & HOFFMAN 99 Park Ave., Ste. 1600 New York, NY 10016 212-490-0400 800-275-4977 E-mail: Web: Contact: Peter Matorin Specialty: Entertainment Law, Intellectual Property BINGHAM 399 Park Ave. New York, NY 10022 212-705-7000 E-mail: Web: Contact: Richard de Bodo CHRISTOPHER HOYT, ESQ. The Hoyt Law Group, LLC Empire State Building 350 Fifth Ave., Ste. 7315 New York, NY 10118 212-268-3414 Fax 212-629-8691 E-mail: Web: Specialty: Entertainment and Business Law *No unsolicited material CODISPOTI & MANCINELLI, LAW OFFICES OF 111 John St., Ste. 800 New York, NY 10038 212-962-6525 Fax 212-962-6791 E-mail: Web: Contact: Bruno Codispoti Specialty: Entertainment Law COWAN, DEBAETS, ABRAHAMS & SHEPPARD, LLP 41 Madison Ave., 34th Fl. New York, NY 10010 212-974-7474 Fax 212-974-8474 E-mail: Web: Specialty: Entertainment Law DAVIS WRIGHT TREMAINE, LLP 1633 Broadway, 27th Fl. New York, NY 10019-6708 212-489-8230 Fax 212-489-8340 E-mail: Web: Specialty: Entertainment Law DORSEY & WHITNEY, LLP 51 West 52nd St. New York, NY 10019-6119 212-415-9200, 800-250-4811 E-mail: Web: Contact: Robert J. Dwyer, Jr. Specialty: Intellectual Property EDWARD M. KELMAN, ATTORNEY AT LAW 100 Park Ave., 20th Fl. New York, NY 10017 212-371-9490 Fax 212-750-1356 E-mail: Contact: Edward Kelman Specialty: Music Law, Entertainment Law FAIRBANKS-FLETCHER, PLLC 26F Congress St., #247 Saratoga Springs, NY 12866 518-581-8600 Web: Contact: Elizabeth Fletcher Specialty: Film, TV, and home video, record distribution and music publishing GARVEY, SCHUBERT & BARER 100 Wall St., 20th Fl. New York, NY 10005-3708 212-431-8700 Fax 212-334-1278 E-mail: Web: Contact: Matthew R. Schneider Specialty: Entertainment Law GEORGE T. GILBERT ATTORNEY AT LAW 826 Broadway, 4th Fl. New York, NY 10003 212-677-2001 E-mail:; Skype: musicesq AIM: ggilbert54 Web: Specialty: Intellectual Property, Entertainment law with focus on the music industry GEORGE STEIN, LAW OFFICES OF 270 Madison Ave., Ste. 1410

New York, NY 10016 212-683-5320 Fax 212-686-2182 E-mail: Web: Contact: George Stein Specialty: Entertainment Law, Music Law, Copyrights GOTTLIEB, RACKMAN & REISMAN 270 Madison Ave., 8th Fl. New York, NY 10016 212-684-3900 Fax 212-684-3999 E-mail: Web: Contact: Barry A. Cooper Specialty: Entertainment Law Additional location: 1225 Franklin Ave. Garden City, NY 11530 516-495-7924 Fax 516-873-8881 GREENBERG TRAURIG Met Life Bldg. 200 Park Ave. New York, NY 10166 212-801-9200 Fax 212-801-6400 Web: Specialty: Music Law & Entertainment Law HEYMAN LAW 26 Perry St., Ste. 4-A New York, NY 10014 212-414-9522 E-mail: Web: Specialty: Entertainment Law, Copyright, Trademark, New Media JEFFREY GANDEL, LAW OFFICES OF 1623 3rd Ave., Ste. 22A New York, NY 10128 212-289-0709 Fax 212-289-0686 E-mail: Web: Contact: Jeffrey Gandel Specialty: Music Law, Film Law, Litigation THE JACOBSON FIRM, P.C. 347 Fifth Ave., Ste. #810 New York, NY 10016 212-683-2001 E-mail: Web: JOEL BROOKS 265 S. Service Rd., Ste. 240 Jericho, NY 11753 516-338-0533 Contact: Joel Brooks Specialty: Music Law JEKIELKE & JANIS LLP 153 West 27th St., Ste. 204 New York, NY 10001 212-686-7008 Fax 212-686-7113 Web: Contact: Jon Jekielek Specialty: Entertainment Law KATTEN, MUCHIN & ROSENMAN 575 Madison Ave. New York, NY 10022 212-940-8800 212-940-8800 E-mail: Henry Web: Contact: Henry Bregstein Specialty: Intellectual Property KIA LAW FIRM 149 Madison Ave., Ste. #1105 New York, NY 10016 212-679-4200 Fax 212-679-4155 E-mail: Web: Specialty: Entertainment Law LEVINSOHN ASSOCIATES, P.C. 1325 Ave. of the Americas, Floor 27 New York, NY 10019 212-262-1000 E-Mail: Web: Specialty: I.P. and Copyright LOEB & LOEB, LLP 345 Park Ave. New York, NY 10154-1895 212-407-4000, 212-407-4906 E-mail: Roger Arar Web: Contact: Roger M. Arar Specialty: all areas LOMMEN ABDO COLE KING & STAGEBERG 260 W. 35th St. New York, NY 10001 212-683-8775 800-752-4297 E-mail:

Web: Contact: Bob Donnelly Specialty: Music Law MANATT, PHELPS & PHILLIPS 7 Times Sq. New York, NY 10036 212-790-4500 Fax 212-790-4545 Web: Specialty: all areas Additional location: 30 S. Pearl St., 12th Fl. Albany, NY 12207 518-431-6700 Fax 518-431-6767 MARVIN KATZ, LAW OFFICES OF 410 Park Ave., Ste. 1530 New York, NY 10022 212-486-6001 Fax 212-486-4608 E-mail: Web: Contact: Marvin Katz Specialty: Contracts, Mergers, Acquisitions, Music Publishing MATTHEW L. KLETTER Law Office of Matthew L. Kletter, PLLC 31 Mamaroneck Ave., Ste. 154 White Plans, NY 10601 914-681-5191, Cell 914-844-5766 E-mail: Web: Contact: Matthew Kletter Specialty: Entertainment Law MELONI & MCCAFFREY, PC 3 Columbus Cir., 15th Fl. New York, NY 10019 212-520-6089 E-mail: Web: Contact: Robert S. Meloni Specialty: Entertainment & I.P. Litigation PELOSI, WOLF, EFFRON & SPATES 233 Broadway, 22nd Fl. New York, NY 10279 212-334-4801 Fax 212-571-9149 Web: Contact: John Pelosi Specialty: Entertainment Law, Music Law, Intellectual Property PERKINS COIE 30 Rockefeller Plaza, 22nd Floor New York, NY 10112 212-262-6900 Fax 212-977-1649 E-mail: Web: Contact: Schuyler G. Carroll Specialty: Trademark Law, Intellectual Property PROSKAUER, ROSE, LLP Eleven Times Square (Eighth Ave. & 41st St.) New York, NY 10036-8299 212-969-3000 Web: Specialty: practice limited to litigation of commercial and entertainment related disputes *No unsolicited material PRYOR, CASHMAN, LLP 7 Times Square New York, NY 10036 212-421-4100 Fax 212-326-0806 E-mail: Web: Contact: James A. Janowitz Specialty: Entertainment Law, Intellectual Property RITHOLZ LEVY SANDERS CHIDEKEL & FIELDS, LLP 235 Park Ave. S., 3rd Fl. New York, NY 10003 212-448-1800 E-mail: Web: Specialty: Entertainment Law Additional location: 421 S. Beverly Dr., 8th Fl. Beverly Hills, CA 90212 310-282-9449 ROBERT A. CELESTIN, ESQ. 250 W. 57th St., Ste. 2331 New York, NY 10107 212-262-1103 Web: Contact: Robert A. Celestin Specialty: Entertainment Law ROBINSON BROG LEINWAND GREENE GENOVESE AND GLUCK, PC 875 Third Ave.

Download at New York, NY 10022 212-603-6300, 800-431-1473 Web: Specialty: Entertainment Law, Music Law, Indie Label Consulting, Contracts

RUBIN, BAILIN, LLP 501 Madison Ave. New York, NY 10022 212-935-0900 Fax 212-826-9307 E-mail: Contact: Marc Bailin Specialty: Music Law, Entertainment Law nsactions related to Entertainment/Talent representation SENDROFF & BARUCH, LLP 1500 Broadway, Ste. 2001 New York, NY 10036 212-840-6400 Fax 212-840-6401 E-mail: Web: Contact: Mark Sendroff Specialty: Entertainment Law SERLING, ROOKS, FERRARA, MCCKOY & WOROB, LLP 119 5th Ave., 3rd Fl. New York, NY 10003 212-245-7300 Fax 212-586-5175 E-mail: Web: Contact: Joseph Lloyd Serling Specialty: Entertainment Law, Music Law SHUKAT ARROW HAFER WEBER & HERBSMAN, LLP 494 8th Avenue, 6th Floor New York, NY 10001 212-245-4580 Fax 212-956-6471 E-mail: Web: Contact: Jonas Herbsman Specialty: Entertainment Law, Copyrights, Contracts SLOSS ECKHOUSE BRENNAN LAW CO 555 W. 25th St. 4th Fl. New York, NY 10001 212-627-9898 Fax 212-627-9498 E-mail: Web:

Contact: Josh Grier Specialty: Entertainment Law STAIRS, DILLENBECK, FINLEY 200 Park Ave. S., Ste. 511 New York, NY 10003 212-697-2700 Fax 212-687-3525 E-mail: Web: Specialty: Entertainment Law TIERNEY & TIERNEY ENTERTAINMENT LAW 409 Rte. 112 Port Jefferson Station, NY 11776 631-928-1444 E-mail: Web: Contact: John Tierney Specialty: Entertainment Law ROSS B ROSEN & ASSOCIATES 20 W. 20th St., Ste. 403 New York, NY 10011 212-647-8100 Contact: Jeff Slippen Specialty: Music Law, Entertainment Law VOLUNTEER LAWYERS FOR THE ARTS 1 E. 53rd St., 6th Fl. New York, NY 10022 212-319-2787 ext. 1 E-mail: Web: Contact: Elena M. Paul Specialty: Pro Bono legal services for artists

NORTH CAROLINA GERBER LAW FIRM 105 W. 4th St., Ste. 800 Winston-Salem, NC 27101 336-773-1324 Fax 336-722-0804 E-mail: Contact: Andrew Gerber Specialty: Entertainment Law, Contracts, Copyright and trademark law, Business Planning RICHARD NOEL GUSLER, LAW OFFICES OF 107 Glenwood Ave.

Raleigh, NC 27603 919-582-2150 Fax 919-582-2151 E-mail: Web: Contact: Richard Gusler Specialty: Entertainment Law

NORTH DAKOTA DORSEY & WHITNEY, LLP 3203 32nd Ave., S., Ste. 103 P.O. Box 1344 Fargo, ND 58107-1344 701-235-6000 701-271-8883 E-mail: Web: Contact: Sarah Andrews Herman Specialty: Intellectual Property NEUSTEL LAW OFFICES, LTD 2534 S. University Dr., Ste. 4 Fargo, ND 58103 701-281-8822, 800-280-1711 E-mail: Web: Specialty: Intellectual Property VOGEL LAW FIRM 218 NP Ave. P.O. Box 1389 Fargo, ND 58107-1389 701-237-6983, 800-677-5024 Web: Specialty: Intellectual Property Additional location: 200 N. 3rd St., Ste. 201 P.O. Box 2097 Bismarck, ND 58502-2097 877-629-0705, 701-258-7899

OHIO BINGHAM, GREENEBAUM, DOLL, LLP 2350 First Financial Center 255 E. Fifth St. Cincinnati, OH 45202 513-455-7600, 800-436-3644 Web: Speciality: Intellectual Property BRICKER & ECKLER 100 S. 3rd St.

Columbus, OH 43215 614-227-2300 Fax 614-227-2390 E-mail: Web: Contact: Alexander M. Brown Specialty: Entertainment Law Additional location: 1001 Lakeside Ave. E., Ste. 1350 Cleveland, OH 44114 216-523-5405 Fax 216-523-7071 HARTLAUB LAW OFFICES/MUSICIAN MANAGEMENT SERVICES Westerville, OH 614-804-7579 Fax 614-898-0120 E-mail: Web: Contact: Joseph Hartlaub Specialty: Music Law

OKLAHOMA ABINGTON INTELLECTUAL PROPERTY LAW & CONSUMER CLASS ACTIONS 320 S. Boston Ave., Ste. 1705 Tulsa, OK 918-588-3400 E-mail: Web: Specialty: Copyrights

OREGON DAVIS WRIGHT TREMAINE LLP 1300 S.W. Fifth Ave., Ste. 2400 Portland, OR 97201-5630 503-241-2300 Fax 503-778-5299 E-mail: Web: Contact: Carol J. Bernick Specialty: Entertainment Law DAY & KOCH, LLP 1435 NW 19th Ave. Portland, OR 97209 503-224-4900 E-mail: Web: Contact: Bartley F. Day





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January 2015


Annual Directory of Music Attorneys Specialty: Entertainment and Intellectual Property Law GARVEY, SCHUBERT & BARER 121 S.W. Morrison St., 11th Fl. Portland, OR 97204-3141 503-228-3939 Fax 503-226-0259 E-mail: Web: Contact: Christine P. Brown, Mgr. Dir. Specialty: Entertainment Law PERKINS COIE 1120 N.W. Couch St., 10th Fl. Portland, OR 97209-4128 503-727-2000 Fax 503-727-2222 E-mail: Web: Contact: Robert L. Aldisert Specialty: Trademark Law, Intellectual Property PETER VAUGHAN SHAVER, ESQ. SOUND ADVICE, LLC Creative Legal Services 3939 N.E. Hancock St., Ste. 308 Portland, OR 97212 503-473-8252 E-mail: Web: Contact: Peter Vaughan Shaver Specialty: Art & Entertainment Law, contracts, publishing, recording deals

PENNSYLVANIA BALLARD SPAHR, LLP 1735 Market St., 51st Fl. Philadelphia, PA 19103-7599 215-665-8500 Fax 215-864-8999 E-mail: Web: Contact: Robert R. Baron, Jr., Partner Specialty: Intellectual Property BERNARD MAX RESNICK, ESQ. PC 2 Bala Plaza, Ste. 300 Bala Cynwyd, PA 19004 610-660-7774 Fax 610-668-0574 E-mail: Web: Contact: Bernard Resnick Specialty: Entertainment Law/Music Publishing CAESAR, RIVISE, BERNSTEIN, COHEN &POKOTILOW, LTD. 1635 Market St., 11th Fl. Philadelphia, PA 19103-2212 215-567-2010 Fax 215-751-1142 E-mail: Web: Specialty: Intellectual Property, Computer and Information Technology Law

401-274-7200 Fax 401-751-06 E-mail: Web: Contact: Paul A. Campellone Specialty: Intellectual Property

SOUTH CAROLINA DORITY & MANNING, PA Two Liberty Sq. 75 Beattie Pl., Ste. 1100 Greenville, SC 29601 864-271-1592, 800-815-6705 E-mail: Web: Contact: James M. Bagarazzi Specialty: Intellectual Property Law MCNAIR ATTORNEYS 100 Calhoun St., Ste. 400 Charleston, SC 29401 843-723-7831 Fax 843-722-3227 Web: Specialty: Intellectual Property Additional location: The Plaza at Belfair 4 Clarks Summit Dr., Ste. 200 Bluffton, SC 29910 843-815-2171 MOORE & VAN ALLEN 78 Wentworth St. Charleston, SC 29401-3535 843-579-7000 Fax 843-579-7099 Web: Specialty: Intellectual Property Additional location: 100 N. Tryon St., Ste. 4700 Charlotte, NC 28202-4003 704-331-1000

SOUTH DAKOTA DAVENPORT, EVANS, HURWITZ & SMITH, LLP 206 W. 14th St. P.O. Box 1030 Sioux Falls, SD 5701 605-336-2880 E-mail: Web: Contact: Jonathan P. Brown WOODS, FULLER, SHULTZ & SMITH, P.C. 300 S. Phillips Ave., Ste. 300 Sioux Falls, SD 57104 605-336-3890 E-mail: Web: Contact: James M. Wiederrich

Additional office:

Additional location:

Allentown, PA 18101

101 S. Main Ave. Sioux Center, IA 51250

DOVAS LAW, PC 307 Bainbridge St. Philadelphia, PA 19147 267-940-7725 Fax 267-295-6078 E-mail: Web: Specialty: Intellectual Property

RHODE ISLAND ADLER POLLOCK & SHEEHAN PC One Citizens Plaza, 8th Fl. Providence, RI 02903-1345

74 January 2015

TENNESSEE ADAMS AND REESE, LLP 424 Church St., Ste. 2700 Nashville, TN 37219 615-259-1450 615-259-1310 E-mail: Web: Contact: Brad A. Lampley Specialty: Entertainment Law, Music Law, Intellectual Property Additional locations:

901 18th Avenue South Nashville, TN 37212 615-341-0068 Cresent Center 6075 Poplar Ave., Suite 700 Memphis, TN 38119 901-525-3234 E-mail: Contact: Jeffrey. C. Smith CUMBERLAND LAW GROUP 421 East Iris Dr., Ste. 203 Nashville, TN 37204 615-823-7069 Web: Contact: Kevin Norwood Specialty: Entertainment Law ESKRIDGE & ESKRIDGE 100 N. Main Bldg., Ste. 1036 Memphis, TN 38103 901-522-9600 Fax 901-276-3800 E-mail: Web: Contact: Janelle R. Eskridge Specialty: Entertainment Law, Trademark, Copyright FARRAR & BATES 211 7th Ave. N., Ste. 500 Nashville, TN 37219 615-254-3060 Fax 615-254-9835 E-mail: Web: Contact: Russ Farrar Specialty: Entertainment Law, I.P./Copyright GORDON LAW GROUP 803 18th Ave. S. Nashville, TN 37203 615-786-0113 Fax 615-321-9099 E-mail: Web: Contact: Robin J. Gordon Specialty: Contracts, Copyrights, Litigation KING & BALLOW 315 Union St., Ste. 1100 Nashville, TN 37201 615-259-3456 E-mail: Web: Contact: Richard Busch Specialty: Entertainment Law, Trademarks, Copyrights LOEB & LOEB, LLP 1906 Acklen Ave. Nashville, TN 37212 615-749-8300 Fax 615-749-8308 E-mail: Web: Contact: Kenneth L. Kraus Specialty: all areas LAW OFFICE OF BRUCE H PHILLIPS, PLLC 102 River Oaks Road Brentwood, Tennessee 37027 615-376-5343 E-mail:, Contact: Bruce Phillips, Sarah Kathryn Gritton (“Kallie”) Specialty: Entertainment Law MILOM, HORSNELL, CROW, ROSE, KELLEY 3310 W. End Ave., Ste. 610 Nashville, TN 37203 615-255-6161 Fax 615-254-4490

E-mail: Web: Contact: David S. Crow Specialty: Entertainment Law RICHARD D. ROSE 1209 16th Ave, S., 2nd Fl. Nashville, TN 37212 Mailing address: 9 Music Square S., #3700 Nashville, TN 37203 615-330-7673 E-mail: Web: Contact: Richard D. Rose Specialty: Entertainment, Internet, Copyrights, Trademark, Clearance SALLY NORDLUND, LAW OFFICES OF 209 10th Ave., South, Ste. 332 Nashville,TN 37203 615-312-4166 Contact: Sally Nordlund Specialty: Contracts, Copyrights SHACKELFORD, ZUMWALT, HAYES 1014 16th Ave. S. Nashville, TN 37212 615-256-7200 E-mail: Web: Specialty: Entertainment Law, Contracts SHRUM & ASSOCIATES 144 2nd Ave. N., Ste. 157 Nashville, TN 37201 615-338-5130 E-mail: Web: Contact: Barry Neil Shrum Specialty: Entertainment Law, Intellectual Property, Trademarks, Copyrights

TEXAS AL STAEHELY, JR., LAW OFFICES OF 713-528-6946 E-mail: Web: Contact: Al Staehely, Jr. Specialty: Entertainment Law AMY E. MITCHELL, ATTORNEY, MEDIATOR, COUNSELOR AT LAW 401 Congress Ave., Ste. 1540 Austin, TX 78701 512-970-3223 Fax 512-366-9915 E-mail: Web: Contact: Amy E. Mitchell Specialty: Entertainment Law CRAIG BARKER 48 East Ave. Austin, TX 78701 512-494-0777 Fax 512-474-1605 E-mail: Web: Contact: Craig Barker Specialty: Entertainment Law DAVID W. SHOWALTER, LAW OFFICES OF 1117 FM 359 Ste. 200 Richmond, TX 77406 281-341-5577 Fax 281-762-6872 E-mail: Web: Contact: David Showalter Specialty: Contracts, Entertainment Law

Download at DECKER, JONES, MCMACKIN, MCCLANE, HALL & BATES Burnett Plaza 801 Cherry St., Ste. 2000, Unit 46 Fort Worth, TX 76102 817-336-2400 Fax 817-332-3043 Web: Specialty: Entertainment Law, Intellectual Property FRITZ, BYRNE, HEAD, & HARRISON 98 San Jacinto Blvd., Ste. 2000 Austin, TX 78701 512-476-2020 E-mail: Web: Specialty: Litigation, Contracts, Copyright GRAVES, DOUGHERTY, HEARON, & MOODY, P.C. 401 Congress, Ste. 2200 Austin, TX 78701 512-480-5600 E-mail: Web: Specialty: Intellectual Property, Entertainment Law MICHAEL NORMAN SALEMAN, LAW OFFICES OF 100 Congress Ave., 11th Fl. Austin, TX 512-263-5932 Fax 512-263-5929 E-mail: Web: Contact: Michael Saleman Specialty: Entertainment Law Additional locations: 8235 Douglas Ave., Ste. 1111 Dallas, TX 75225 888-222-8959 433 North Camden Dr., Ste. 600 Beverly Hills, CA 90210 323-878-0226 MIKE TOLLESON & ASSOCIATES 2106 E. Martin Luther King Jr. Blvd. Austin, TX 78702 512-480-8822 Fax 512-479-6212 E-mail: Web: Contact: Mike Tolleson Specialty: Entertainment Law PERKINS COIE 500 North Akard Street, Suite 3300 Dallas, TX 75201 214-965-7700, 214-965-7799 E-mail: Web: Contact: Steven R. Smith Specialty: Trademark Law, Intellectual Property ROBERT R. CARTER, JR. P.O. Box 1441 Austin, TX 78767 512-304-5275 E-mail: Web: Contact: Robert R. Carter, Jr. Specialty: Entertainment Law SIMMONS AND HOLMES LAW FIRM, PC 1314 Texas Ave., Ste. 520 Houston, TX 77002 713-659-8600 713-550-7700 E-mail:

Contact: Anthony Simmons, Attorney-Partner Specialty: Contracts, label shopping TABOR LAW FIRM 1608 Hartford Rd., Ste. 100 Austin, TX 78703 512-708-8584 E-mail: Contact: Catherine Tabor Specialty: Entertainment Law TEXAS ACCOUNTANTS & LAWYERS FOR THE ARTS 6001 Airport Blvd., Ste. 2280-A Austin, TX 78752 512-459-8282, 800-526-8252 E-mail: Web: Contact: Erin Rodgers Specialty: Non-profit organization provides legal services for artists UNDERWOOD, PERKINS, PC 5420 LBJ Fwy., Ste. 1900, Bldg. 2 Dallas, TX 75240 972-661-5114 Fax 972-661-5691 E-mail: Web: Contact: Evan Fogelman Specialty: Entertainment Law & Intellectual Property

UTAH PARSONS, BEHLE & LATIMER 201 S. Main St., Suite 1800 Salt Lake City, UT 84111 801-532-1234 Fax 801-536-6111 E-mail: Web: Contact: David M. Bennion Specialty: Intellectual Property Litigation, Patents, Trademarks & Copyrights DORSEY & WHITNEY, LLP 136 S. Main St., Ste. 1000 Salt Lake City, UT 84101-1685 801-933-7360 866-861-0311 E-mail: Web: Contact: Sarah Goldberg Specialty: Intellectual Property SNELL & WILMER 15 W. South Temple, Ste. 1200 Salt Lake City, UT 84101-1531 801-257-1900 Fax 801-257-1800 E-mail: Web: Specialty: Intellectual Property THORPE NORTH & WESTERN 8180 S. 700 E., Ste. 350 Sandy, UT 84070 801-566-6633 Fax 801-566-0750 E-mail: Web: Specialty: Intellectual Property

VERMONT DOWNS RACHLIN MARTIN, PLLC 199 Main St. P.O. Box 190 Burlington, VT 05402-0190 802-863-2375 Fax 802-862-7512 E-mail: Web: Specialty: Intellectual Property

PRIMMER PIPER EGGLESTON & CRAMER, PC 150 S. Champlain St. P.O. Box 1489 Burlington, VT 05402-1489 802-864-0880 Fax 802-864-0328 E-mail: Web: Contact: Douglas J. Wolinksky Specialty: Intellectual Property and Technology

VIRGINIA VENABLE, LLP 8010 Towers Crescent Dr., Ste. 300 Tysons Corner, VA 22182 703-760-1600 Fax 703-821-8949 Web: Specialty: Intellectual Property Additional location: One Church St., 5th Fl. Rockville, MD 20850 301-217-5600

WASHINGTON DORSEY & WHITNEY, LLP 701 Fifth Ave., Ste. 6100 Seattle, WA 98101-4010 206-903-8814 866-789-2882 E-mail: Web: Contact: Randal R. Jones Specialty: Intellectual Property GARVEY, SCHUBERT & BARER 1191 2nd Ave., 18th Seattle, WA 98101 206-464-3939 888-768-5939 E-mail: Web: Contact: Anne F. Preston Specialty: Entertainment Law NEIL SUSSMAN, LAW OFFICES OF 10751 Densmore Ave. N. Seattle, WA 98133 206-363-8070 Fax 206-363-7519 Web: Contact: Neil Sussman PERKINS COIE The PSE Building 10885 N.E. Fourth St., Ste. 700 Bellevue, WA 98004 425-635-1400 Fax 425-635-2400 E-mail: Web: Contact: Markam (Mark) A. Quiehrn Specialty: Trademark Law, Intellectual Property

WEST VIRGINIA BOWLES RICE, ATTORNEYS AT LAW 7000 Hampton Center Morgantown, WV 26505 304-285-2500 Fax 304-285-2530 Web: Specialty: Intellectual Property Additional location: 101 S. Queen St. Martinsburg, WV 25401 304-263-0836

FROST BROWN TODD 500 Lee St. E., Ste. 401 Charleston, WV 25301 304-345-0111 Fax 304-345-0115 Web: Specialty: Trademark Law, Intellectual Property

WISCONSIN BOARDMAN & CLARK, LLP 1 S. Pinckney St., 4th Fl. Madison, WI 53703 608-257-9521 E-mail: Web: Contact: Joe Byrne, Partner Specialty: Patents, Copyrights, Trademarks & Trade Secret Law Additional locations: 619 Oak St. P.O. Box 443 Baraboo, WI 53913-0443 608-356-3977 113 South Main St., Suite 301 P.O. Box 256 Lodi, WI 53555-0258 608-592-3877 213 North Main Street, Suite 200 P.O. Box 128 Poynette, WI 53955-0128 595 Water Street Prairie du Sac, WI 53578-1128 608-356-3977 LOMMEN ABDO COLE KING & STAGEBERG, P.A. 210 Grandview Prof. Bldg. 400 S. Second St. Hudson, WI 54016 715-386-8217, 800-752-4297 Web: PERKINS COIE 1 E. Main St., Ste. 201 Madison, WI 53703-5118 608-663-7460 Fax 608-663-7499 E-mail: Web: Contact: John S. Skilton Specialty: Trademark Law, Intellectual Property

WYOMING DRAY, DYEKMAN, REED, HEALEY, P.C. 204 E. 22nd St. Cheyenne, WY 82001 307-634-8891 307-634-8902 E-mail: Web: Contact: Nicholas G. J. Healey Specialty: Intellectual Property

For hundreds more contacts from current directories (producers, engineers, managers, agents, vocal coaches, college radio, recording studios, rehearsal studios, mastering studios, publishers, film/ TV and more), visit our website:

January 2015


December 2014 68 January 2015 76

For ForAdvertising AdvertisingInfo InfoCall Call818-995-0101 818-995-0101


December 2014 January 2015 69 77

For ForAdvertising AdvertisingInfo InfoCall Call818-995-0101 818-995-0101



Are You Being Realistic About Your Talent?

...And other essential aspects to a successful music career


eteran music industry attorney Glenn T. Litwak has plenty of advice to dish about the right ways and the wrongs ways to handle yourself—the concrete things aspiring recording artists, music producers and songwriters can do to make progress in their careers. 1. Find a good mentor: Mentors can be beneficial to an individual in any career. I know I had several mentors when I started out as an entertainment attorney. Mentors can be invaluable to encourage and give you advice as well as introduce you to people who can help you advance your career. And it’s nice knowing you have someone knowledgeable to call when a question arises. 2. Be professional: Being professional means showing up on time, being polite, dressing appropriately, adhering to deadlines, etc. It also means knowing what you should know to do your job and being prepared to do it. People want to work with people who are professional. Not with someone who always has drama going on in their lives, or have obvious drug or alcohol problems. For example, if you are a sound engineer working in the studio and people are drinking, you should not be drinking. You are not there to party. Also, don’t be one of those people who does not have current photos, bio and music to give to someone when the opportunity arises. I have run across people who say for months they are working on their bio. You should be able to do it in a few hours. And some aspiring artists do not even have a website after pursuing a music career for years. 3. Learn how to network: You should attend music industry events such as fundraisers, conferences and festivals. Find out if your family or friends know anyone in the industry and see if you can arrange to meet them. Networking can happen anywhere at anytime. It is not restricted to formal networking events. Remember: that person you struck up a conversation with in the elevator may be someone in the music biz or may know someone who is. 4. Outwork your competition: I hear a lot of people say young people today don’t have a good work ethic. That may be true in some cases but not all. You should outwork your competition. And do whatever it takes including working long days, nights and weekends. This is your career. There is enormous competition in the music biz. How bad do you want it? Are you willing to make the sacrifices? Be determined and relentless. 5. Bring value: This means bringing something to the party, so to speak. For example, when you approach someone in the music biz rather than just ask them if they can help you, maybe there is something you can do for them (like being a free hard working intern). Try to establish some rapport with the person you want to meet first. 6. Do an internship: An internship (most of them are unpaid positions) can be a great way to break into many industries. For example, I interned for a judge during law school. Puffy started out as an intern while in col78 January 2015

lege and commuted to New York from Washington, D.C. for his internship. He wanted it that bad. Internships often lead to paying jobs and, in any event, offer great networking and educational opportunities. 7. Learn your craft: If you are a songwriter, for instance, study how to write songs from books and classes or from successful songwriters. Be a sponge. Learn everything there is to know about songwriting. If you are a singer, producer or musician, learn as much as you can about music and how the music business works. 8. Be creative/original: Seize the opportunity and make necessary sacrifices. When an opportunity arises, take advantage of it. If there is a great music conference you want to attend in New York but don’t have the money to pay for it, be creative. For instance, maybe you can volunteer to work at the conference and get a free ticket. Or maybe you will need to work overtime at your job to get the money to attend. Make the sacrifices you need to make. There are not many overnight successes. Be creative in your strategy and persevere. Set goals and work harder than anyone else to achieve them. And be true to yourself. Be honest about your experience and talents. 9. Be realistic about your talent: If you want to be a singer, you usually need to have a great voice to begin with. If you don’t, be realistic. Maybe you can do something else in the music business like be a songwriter, producer, manager, or work for a record label or music publisher. If you don’t have the talent, all the hard work and networking will not matter. 10. What not to do: Don’t be lazy, late, rude, unprofessional, disrespectful or unreliable. Or the person you want to do business with may find someone else. Don’t lie, steal or cheat anyone. It will come back to haunt you. Avoid people who will waste your time, or misrepresent their experience or accomplishments. Don’t retain dishonest or incompetent representatives, such as a manager or producer. Don’t get taken advantage of by, for instance, grossly overpaying for a producer to do a demo for you. But understand you have to pay your dues. So if a famous recording artist wants to take 50% of a song you (a new songwriter with no placements) wrote 100% of, let him or her do it. It will put you on the map as a songwriter and you will hopefully get a better deal next time. Don’t sign contracts without reading them completely and having a lawyer review them with you. Don’t jump into working with anyone until you have done your “due diligence,” meaning you have researched their experience, accomplishments and reputation. You can have a great contract, but if it is with a dishonest person with a terrible reputation, they may very well breach it.

GLENN T. LITWAK is a veteran music and entertainment attorney based in Santa Monica, CA. He has represented platinum selling recording artists, successful music producers and hit songwriters as well as management and production companies, music publishers and independent record labels Litwak is also a frequent speaker at music industry conferences around the country. Reach him at,

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Music Connection Jan. 2015  

Music Connection kicks off the new year with a cover story featuring duo She & Him. Elsewhere in the issue we present the Label Reps Sound O...

Music Connection Jan. 2015  

Music Connection kicks off the new year with a cover story featuring duo She & Him. Elsewhere in the issue we present the Label Reps Sound O...