www.musicconnection.com

Vol. 37, JANUARY 2013 • U.S. $3.95/$4.95 Canada 

www.musicconnection.com

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contents 

January 

Cover Stories 

Kid Rock 

As he prepares to embark on a winter 2013 tour in support 

of his latest album, Rebel Soul, crossover king Kid 

Rock gives a candid no-holds-barred interview about how 

he manages his career (including his decision to finally 

make his music available on iTunes), his no-frills production 

style and the possibility of launching his own label. 

2013 • Vol. 37 • No. 01 

44. Industry Profile: 

36 

By Gary Graff 

Cover Photo and Inside Image By: Eric Ogden 

Label Scouts: What They’ll Sign in 2013 

What kind of acts do labels expect to sign this year? Will specific genres 

be more signable than others? Are there new clauses in standard contracts? 

This exclusive article gives readers a peek into the minds of talent 

scouts, reveals each rep’s work process and 

what artists can do to get a deal. 

56 

Compiled By Denise Coso 

By Bernard Baur 

Directory of Music Attorneys 

Artists must rely on an informed attorney to make smart career choices. Using 

MC’s exclusive, updated directory, anyone can find and engage 

the best legal representation in the industry. 

40 

Directory of A&R Reps 

To kick off the new year right, MC delivers information that every careerminded 

musician needs—an updated and expanded list of major and 

indie-label talent-scouts. 

Find out how Casio is helping artists 

and songwriters boost their careers. 

By Brett Bush 

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. Film/TV/Theater 

34. Mixed Notes 

Reviews 

48. CD Reviews 

50. New Music Critiques 

52. Live Reviews 


20. Engineer Crosstalk: Matt Serletic...........................................................By Rob Putnam 

22. Exec Profile: Debbie Cavalier, Berkleemusic.........................................By Andy Kaufmann 

30. Songwriter Profile: Dustin Welch............................................................By Dan Kimpel 

46. Career Connection: Epic Proportions...................................................By Andy Mesecher 

78. Tip Jar: Think You’re Getting Ripped Off By The Venue?..........................By David Barber 

Be Sure To follow 

Music Connection on 

Facebook and Twitter. 

Check out our AMP 

Social Space and 

online magazine 

for up-to-date 

music news. 

The opinions expressed in Music Connection, as well as all Directory listings and contact information, are provided by various sources in the music industry. 

Music Connection is not responsible for any business transactions or misadventures that may result from your use of this information. 

66 

4 

January 2013 

www.musicconnection.com

PUBLISHER 

E. Eric Bettelli 

GENERAL MANAGER/ 

ADVERTISING DIRECTOR 

E. Eric Bettelli 

ericb@musicconnection.com 

OPERATIONS MANAGER 

Denise Coso 

denisec@musicconnection.com 

MARKETING/ADVERTISING 

MANAGER 

Hillorie Rudolph 

hillorier@musicconnection.com 

ACCOUNT EXECUTIVE/ARTIST 

RELATIONS 

Mira Abas 

mira@musicconnection.com 

ADVERTISING ART DIRECTOR 

Gary J. Stephens 

garys@musicconnection.com 

NEW TOYS 

Barry Rudolph 

barry@barryrudolph.com 

DIRECTORY EDITOR 

Denise Coso 

mcdirectories@musicconnection.com 

EDITORIAL INTERN 

Karen Emmert 

intern@musicconnection.com 

ASSOCIATE PUBLISHER/ 

SENIOR EDITOR 

Mark Nardone 

markn@musicconnection.com 

ART DIRECTOR 

Cesare Perrino 

artdirector@musicconnection.com 

DIRECTOR OF ONLINE OPERATIONS 

Mukul Chauhan 

mukulchauhan16@gmail.com 

ASSOCIATE EDITOR 

Andy Mesecher 

andym@musicconnection.com 

CONTRIBUTING EDITOR 

Bernard Baur 

bbatmc@aol.com 

SONG BIZ 

Dan Kimpel 

dan@dankimpel.com 

FILM, TV, THEATER 

Tom Kidd 

prespak1@verizon.net 

FEATURE WRITERS 

Andy Kaufmann 

andy.kaufmann@comcast.net 

Rob Putnam 

toe2toe6@hotmail.com 

CONTRIBUTING WRITERS 

Jessica Aves, Allegra Azzopardi, Bernard Baur, Fuchsia Black, Brett Bush, Stefan Broadley, Karen 

Emmert, Gary Graff, Eric A. Harabadian, Corey Irwin, Oscar Jordan, Andy Kaufmann, Dawna 

Kaufmann, David Kershenbaum, Kim Mack, José Martinez, Dean Moore, Paula Muñoz, Jessica 

Pace, Rob Putnam, Tim Reid Jr., Adam Seyum, Daniel Siwek, Matt Schild, Brian Stewart, Laurier 

Tiernan, Albert Vega, Catherine Veit, Jonathan Widran, Ellen Woloshin. 

PHOTOGRAPHERS 

Jessica Aves, Allegra Azzopardi, Bernard Baur, Daren Cornell, Jody Domingue, Scott Dudelson, 

Karen Emmert, Kevin Estrada, Corey Irwin, Oscar Jordan, David Klein, Thomas Long, Kim Mack, 

Cindy Miley, Paula Muñoz, Jessica Pace, Scott Perham, Rob Putnam, Tim Reid Jr., Adam Seyum, 

Daniel Siwek, Brian Stewart, Dave Stone, E. H. Tiernan, Albert Vega. 

Manufactured and printed in the United States of America, 

Music Connection (ISSN# 1091-9791) is published monthly by Music Connection, Inc., 14654 Victory Blvd., 

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which must be accompanied by return postage. All rights reserved. Reproduction in whole or part without 

written permission of the publishers is prohibited. The opin ions of contributing writers to this publication do not 

necessarily reflect the views of Music Connection, Inc. Copyright © 2013 by E. Eric Bettelli. All rights reserved. 

Founded by: J. Michael Dolan / jmichaeldolan@gmail.com 

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6 January 2013 www.musicconnection.com

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CLOSE-UP 

Krysti O'Rourke 

By Jonathan Widran 

In 2010, the last time MC profiled Long Island-based Five Towns 

College—renowned for its commitment to educating entertainment 

professionals in the worlds of music, media, business, teaching and 

performing arts—the focus was on the school’s much heralded Music 

Business program. 

The program was developed by Professor Susan Gaide close to 30 

years ago and expanded into a four-year program under the college’s VP 

Marin Cohen in 1990. Due to the evolving industry business models during 

this digital age, there has been a concentrated effort in recent years 

to include more studies on digital media, technological advances and the 

importance of entrepreneurship. 

Because of the challenging economic conditions in the music industry 

and US in general over the past few years, it makes sense for the focus 

to be on the powerful tools that FTC students of all disciplines have at 

their disposal via the Office of Career Services, helmed by Director 

Krysti O’Rourke. 

As the bridge between students and companies in the industries they 

seek to work in after graduation, the department’s goal is to provide a 

variety of experiential opportunities to enhance academic experience 

and prepare students for the workforce. These experiences include professional 

seminars, cooperative education, off campus jobs, networking 

opportunities, career counseling and career education. 

The Five Towns College Office of Career Services is staffed by 

knowledgeable personnel who strive to achieve the following goals: to 

enhance student awareness, preparation and appreciation of career 

activities and related work opportunities; to assist students in obtaining 

employment; to develop experiential opportunities that are linked to the 

student’s career objectives, like internships; to develop and maintain 

contacts with individuals and organizations in the private, non-profit and 

public sectors that facilitate learning opportunities; and to establish and 

maintain databases and materials that facilitate the matching of student 

with these opportunities. 

O’Rourke places special emphasis on the value of internships, which 

the music business, audio engineering, and mass communications 

programs (broadcasting and journalism) list as requirements and which 

film and video students can do for their elective credits. As part of her 

job, she teaches two courses on internships (Internship 1 and 2), which 

cover such topics as professionalism, assessment, creating resumes 

and cover letters, interviewing skills, etc. 

“Our office is proud of the efforts we place on individualized assistance,” 

she says. “Major and independent companies contact us with a 

lot of their internships and paying jobs because they know we’re a small 

school (1,000 enrolled at any given time) focused on music and the arts. 

Our music business program is also one of the larger ones in the country. 

We also do workshops for the employers we deal with. There’s a huge 

balance between representing Five Towns College and making contacts 

and maintaining relationships with employers on behalf of students. 

“The best advertising,” O’Rourke adds, “is a great student who does 

well in their internship and inspires these companies to come back to 

us for new talent. We have also continued to expand our annual career 

fair to include more top industry employers. Our Career Services and 

Student Activities collaborate to offer a unique, award-winning Lunch 

& Lecture Series. We invite professionals from across the spectrum to 

come to speak to our students in an environment that is both professional 

and casual. While the luncheon features longtime professionals, 

we also have a very successful Alumni Series Panel that we do with 

former students who graduated more recently and who are doing well on 

their chosen career path.” 

While most of the students who attend Five Towns College are from 

the NY-NJ-CT tri-state area, others enroll from as far west as California 

and as far away as Korea and Italy. 

Contact Five Towns College, 631-424-7000 


ASSIGNMENTS 

Douglas E. Nestler 

VP of Sales 

Marshall USA 

Douglas E. Nestler has joined US 

Music Corp as Vice President of 

Sales for Marshall USA. Nestler is an 

industry veteran whose 32-year career 

has been spent primarily in musical 

instrument sales, most recently in senior 

management roles at Korg USA and 

Ultimate Support Systems. US Music 

Corp, located in Buffalo Grove, IL, is an international musical instrument 

company that manufactures and distributes products worldwide under the 

Washburn, Parker, Randall, and Oscar Schmidt brand names, as well as 

being the exclusive distributor for Marshall, Eden, Natal, Hagstrom and 

Warwick. US Music is a subsidiary of Jam Industries, Ltd. For further 

information, contact public.relations@usmusiccorp.com. 

Ray Yee 

Assistant VP, Film/TV Relations 

Broadcast Music Inc. (BMI) 

BMI has promoted Ray Yee to Assistant 

Vice President, Film/TV Relations. Yee 

previously served as Executive Director, 

Film/TV Relations. In his expanded 

position at the performing rights organization, 

Yee will continue to affiliate 

composers and music publishers with 

BMI as well as provide service to BMI’s 

existing composers, songwriters and music publishers. He works closely 

with music supervisors, agents and other members of the US film, television 

and gaming industries to scout and deliver opportunities for BMI’s 

affiliates. Yee also plays a vital role producing BMI’s annual “Conducting 

for the Film Composer” workshop, as well as various other outreach programs. 

Contact jwalker@bmi.com. 

Val Gilbert 

Live Product Specialist 

Waves Audio 

Waves Audio, a provider of audio DSP 

solutions for professional, broadcast 

and consumer electronics audio markets, 

has appointed UK-based audio 

engineer Val Gilbert as Waves Live 

Product Specialist. In his new capacity, 

Gilbert will communicate with other 

live sound engineers across the UK, 

sharing his vast knowledge of Waves plugins, the SoundGrid system 

and typical workflows in the live sound arena. As the industry continues 

its transition to digital, he will draw upon his real-world experiences and 

impart his expertise on the Waves customer base and live sound community. 

For further information on Val Gilbert and his role with Waves Audio, 

contact info@clynemedia.com. 

Patrick Foucher 

Chief Information Officer 

PreSonus 

PreSonus has named Patrick Foucher 

to the newly created post of Chief 

Information Officer. In his new position, 

Faucher will oversee the streamlining 

and unification of the company’s 

communications infrastructure, focusing 

on end-user experience across the entire 

suite of PreSonus hardware, software 

and online solutions, as well as internal data and communication platforms. 

Faucher was previously the CEO and co-founder of Nimbit (now a part of 

the PreSonus family), where he was instrumental in creating the music 

industry’s most powerful direct-to-fan platform for musicians. Contact 

soppenheimer@presonus.com. 

Joe Riccitelli 

Executive VP/GM 

RCA Records 

Joe Riccitelli has been named Executive 

Vice President/GM for RCA Records. 

He was previously Executive Vice 

President, Promotion, RCA Records. 

Riccitelli will continue to spearhead all 

aspects of Pop Promotion for the label 

and additionally will now oversee the 

Music Licensing and Brand Partnership 

departments. Riccitelli began his career at Polygram Records in 1985. He 

held the position of SVP, Promotion, Island Label Group from 1995-1999. 

He then joined Jive Records in 1999 as Sr. VP, Promotion. Riccitelli held 

that position until 2007 when he was named Executive VP of Promotion. 

In 2011, he was appointed Executive VP, Promotion, RCA Records, which 

was then newly relaunched. Contact mika.elbaz@rcarecords.com 

Lori McCallian 

CEO 

Dean Markley 

Dean Markley has announced the appointment 

of Lori McCallian as Chief 

Executive Officer of both Dean Markley 

USA and Ultrasound Amplifiers. The 

new role is effective immediately. 

McCallian will be actively involved in the 

various strategic, financial and operational 

components of the company. 

Initially, she will spend additional time on branding projects, evaluating 

operational efficiencies, building the Dean Markley team, and getting 

to know the customers, artists, dealers and distributors. Prior to joining 

Dean Markley, her career was spent in the insurance and financial services 

industries. For further information on this appointment, contact Josh 

Vittek, josh@vittekpr.com. 

Scott Robbins 

VP of Sales 

HARMAN Professional 

HARMAN Professional has promoted 

Scott Robbins to Executive 

Vice President of Sales. Effective 

immediately, Robbins assumes worldwide 

responsibility for sales operations 

including management of HARMAN’s 

regional sales programs, its target 

market sales programs and all technical 

service and support. Robbins is a 12-year veteran of HARMAN, having 

been with Crown International when it was acquired by HARMAN in 2000. 

Prior to his appointment as Vice President of Sales, he was Senior Director 

of Worldwide Sales, previously holding a range of senior sales roles with 

HARMAN Professional and Crown Audio. For further information on this 

appointment, contact kieran.mcgee@definitionbam.com. 

Keith Naftaly 

Executive VP, Head of A&R 

RCA Records 

Keith Naftaly has been promoted to 

Executive Vice President, Head of 

A&R, RCA Records. Naftaly previously 

held the title of Senior Vice President, 

A&R, RCA/JIVE Label Group. In this 

expanded role, Naftaly will oversee the 

pop and pop/urban A&R staff and will be 

integrally involved in all RCA releases. 

In addition, he will continue to handle A&R for specific artists on the label’s 

roster including Kelly Clarkson, Christina Aguilera, Sterling Simms, Elle 

King, Imogen Heap, Hot Chelle Rae, among many others. Naftaly has been 

with the RCA/JIVE Label Group since 2009. Contact meghan.kehoe@ 

rcarecords.com for more info. 

January 2013 www.musicconnection.com 9

NEW TOYS 

AKG D12 VR Dynamic Microphone 

During the 1950s and ‘60s, the original AKG D12 

was a popular announcer’s mic for radio and later television 

broadcast studios all over the world—almost 

a standard. So it was probably a fortuitous accident 

that a recording engineer first tried it on a 

kick drum. 

AKG’s newly designed D12 VR large-diaphragm 

cardioid microphone is intended specifically 

for kick drum recording. It is unique; it has 

three alternative operating modes (sounds) by 

way of a switchable active analog filter built into the 

microphone’s body. In standard dynamic microphone mode 

(without phantom powering) the original output transformer 

from the AKG 414 condenser microphone is in circuit and the 

electronics are bypassed and do not affect the sound or the 

mic’s operation. This is the best example of a vintage AKG 

D12 dynamic microphone and the mic’s thin, low mass diaphragm 

does a good job of capturing the loud transient, attack of 

the pedal beater hitting any kick drum. 

With phantom power on, having three other built-in response curves 

instantly makes the process of getting just the right bass drum sound faster, 

with less additional signal processing and with a lot less hassle. Four 

different sounds open up the mic’s use for many more applications—I’ve 

already gotten great results up close to bass guitar amps, toms and loud 

singers/rappers. The mic is rugged and I like the three, lighted filter switch 

positions (red, green, blue) my assistant switches through while I listen 

and enjoy in the control room. 

I’m getting back into using dynamic microphones more and more nowadays—especially 

around super loud sources and the AKG D12 VR greatly 

expands the range of possible by way one of the best new mircophone 

ideas I’ve seen in a long time. The AKG D12 VR sells for $499 MSRP. 

For more information about AKG, visit http://akg.com. 

Sony Creative SpectraLayers Pro 

SpectraLayers Pro is an audio editing software system that operates 

directly on the waveform spectra using a large palette of graphic/ 

image-style editing tools familiar to anyone who has used Adobe 

Photoshop. Separating components of a mixed stereo audio track (such 

as a finished 

music CD mix) 

into any number 

of separate layers 

for independent 

processing, mixing 

and then 

reintegration, it is 

now possible to 

achieve results 

impossible with 

any other DAW 

system. 

SpectraLayers 

Pro displays 

recorded stereo 

audio files by representing them in three dimensions: time expiry horizontally 

on the X-axis, frequency range vertically on the Y-axis and level, 

relative to other frequencies occurring at the same time is represented 

by brightness. Harmonic-rich and complex stereo music is easily seen 

as a vivid and colorful image instantly. 

Super precise audio restoration using SpectraLayers Pro editing 

allows the removal of unwanted noises, leaving the desired audio unaffected. 

You can separate music and dialog (or vocal performances) into 

individual component layers and repurpose the dialog or use only the 

music. All manner of processing is possible such as performing pitch 

correction or remixing the levels of the separated layers is possible as if 

using Photoshop to adjust the opacity or color balance of various layers 

of a high resolution image collage. 

SpectraLayers has many intelligent tools to help you extract audio into 

layers by selecting an area, frequency range and/or by a user-defined 

harmonic series. The modification tools allow you to: amplify, clone or 

erase parts or all of edited sections of any layer including the original 

source layer. 

SpectraLayers Pro is for audio restoration, mastering, remixing/sound 

design, analysis and audio forensics tasks and is 32-bit 96kHz capable. 

In addition, it provides seamless file transfer to Sound Forge Pro and 

other audio editing programs such as Pro Tools. 

For MAC and PCs, SpectraLayers Pro is $399. Download it at http:// 

sonycreativesoftware.com. 

—BARRY RUDOLPH barry@barryrudolph.com 

Etymotic Music•PRO Electronic Earplugs 

The new MP-9-15 Etymotic Electronic Earplugs are like a “volume 

control for the world” for musicians, stage hands, music instructors—any 

one who uses their ears and wants to protect them when working in loud 

sound environments. The MP-9-15 electronic earplugs reduce sound level 

by as much as 15dB SPL without greatly altering frequency balance like 

regular earplugs. The MPs provide a way to have natural hearing until 

sound exceeds safe levels. Called wide-dynamic-range adaptive 

compression, their operation is automatic 

with nothing for the wearer to do but insert them 

in their ears and enjoy the concert. 

Each of the MP-9-15 earplugs uses 

a balanced armature driver (miniature 

speaker similar to in-ear monitors), a 

sensitive microphone and Etymotic’s 

proprietary K•AMP® signal processing to 

automatically and quickly change the sound 

level delivered to your ears. 

In the 15dB mode, the MP’s pass sound like an 

open ear until the external sound level crosses the 

70dB SPL threshold and they begin a gradual reduction 

until it reaches 100dB. Also handled are any loud and sudden 

impact noises such as cymbal crashes that occur at any time. 

The 9dB mode boost all sound up to 85dB SPL but, starting at 70dB, the 

dynamic attenuation curve and overall operation is the same except 9dB 

less reduction overall. 

I received a pair for review and immediately liked that they do not 

require custom ear molds and come with a complete assortment of reusable 

foam, Glider, and three-flange ear tips, a cleaning kit, extra batteries 

and complete instructions. 

With MPs properly inserted and set to the 15dB position, it was amazing! 

A 100dB + SPL mix in my studio sounded great—full stereo with 

good stereo imaging and frequency balance—my speakers were throbbing 

loud but with the MP-9-15s inserted it was just a loud playback! 

Amazing to me was when I stopped playback I could hear the traffic 

noise from the street “fade up” into my ears and if people were talking, I 

would have been able to converse in a normal voice. 9dB mode works the 

same except everything is louder and better for musicians or older people 

with a threshold shift in their hearing. 

Now part of my kit in the recording studio for adjusting/changing microphones 

around loud drum kits or guitar amps while the musicians continue 

to play, Etymotic Music•Pro Electronic Earplugs sell for $399 MSRP. 

Check out http://etymotic.com or call 888-389-6684. 

Drum Workshop Collector’s Series 

Aluminum Snare Drum 

The Drum Workshop Collector’s Series® thin-shell snare drums add 

two new aluminum drums to its existing line made popular with the 

black-nickel over brass, titanium and stainless steel thin shell snare 

drums. Both the 5.5x14-inch and 6.5x14-inch aluminum drums feature a 

thin, 1-mm rolled shell and is said to have a warmer sound than a brass 

drum, but with just enough metallic sound to cut well. 

The thin aluminum shell is finished with a matte gray powder coat and 

has rolled bearing edges and snare beds. You get DW’s Custom Shop 

treatment with chrome hardware, a MAG throw-off system with 3P 

(3 position) butt-plate, True Tone snare wires, True Pitch stainless 

steel tension rods, 3-mm steel True Hoops and DW Heads by Remo® 

USA. 

Retail price for the 5.5x14-inch is $661.99 and the 6.5x14-inch goes 

for $692.99. I can’t wait to record one of these in the studio. Visit http:// 

dwdrums.com. 


The Sessions TM MH510 is the result of a decade long collaboration 

of experience and professional audio expertise. Conceptualized and 

designed for the accomplished performer — studio, live or playback — 

get ready to experience your favorite tracks the way the artist intended. 

For the Artist in all of us — Sessions TM by CAD Audio 

Also 

available 

in: 

Sessions 

MH510W Headphones 

Black 

MH510 

Black/Orange 

MH510OR 

Black/Chrome 

MH510CR 

CAD Audio, LLC | 6573 Cochran Rd. Building I | Solon, Ohio 44139 

cadaudio.com | 800-762-9266 


NEW TOYS 

Sony DWZ Series Wireless 

The Sony DWZ Series of wireless microphone systems all use 24-bit 

linear PCM digital audio transmitted over the 2.4GHz band and come in 

four different paired, transmitter and receiver packages: the DWZ-B30GB 

Guitar Set, DWZ-M50 Vocal Set, the DWZ-M70 Vocal/Speech Set, and 

the DWZ-B70HL Headset and Lavaliere Set. Especially notable for a wireless 

system at this price point is that both the DWZ-M70 and DWZ-B70HL 

packages have advanced digital signal processing to minimize audio feedback 

and 128-bit AES data encryption for secure audio transmission. 

Ideal and totally flexible for modest installed sound applications, houses 

of worship, corporate board rooms or night club stages, the DWZ systems 

have two methods for 2.4GHz frequency selection and the rack-mountable 

receivers (shown) have an integrated color LCD plus a built-in digital 

program EQ. The receivers connect easily using either balanced and 

unbalanced audio outputs and the handheld mics support both Sony’s or 

any third-party’s interchangeable mic capsule. 

The DWZ-M50 Vocal Set includes an interchangeable cardioid dynamic 

microphone capsule for its handheld transmitter and a half-rack size 

receiver while the DWZ-GB30 Guitar Set goes with a body pack transmitter 

with guitar cable tone control and compact size receiver powered by 

an AC adapter, 9V battery or external DC. 

The DWZ-M70 Vocal/Speech Set includes an interchangeable cardioid 

dynamic microphone capsule for its handheld transmitter and half-rack 

size receiver and the DWZ-B70HL Headset and Lavaliere Set uses either 

a cardioid condenser headset microphone or uni-directional condenser 

lavaliere mic, body pack transmitter and receiver with advanced DSP 

functions. Check out http://sony.com/proaudio. 

PMC twotwo Series Powered 

Reference Monitors 

Professional Monitor Company (PMC) has 

two new handcrafted, 2-way powered 

reference studio monitors called the 

twotwo.5 and the scaled-up model, 

the twotwo.6 with the twotwo.8 version 

coming soon. 

The set of pre-production 

twotwo.6s sent to me for evaluation 

have a 6.5-inch LF driver, measure 

(H 406 X W 194 X D 364mm), and a 

useable frequency range of 40Hz to 25kHz. 

PMC’s Advanced Transmission Line, an 

internal labyrinth within the cabinet, is used to load 

the bass driver and extend the low frequency response 

of this compact monitor. 

Both the twotwo.5’s and .6’s use the same 27-mm soft-dome 

HF driver, the same pair of Class-D power amps—150-watt LF and 

50-watt HF, and both accept either balanced or unbalanced analog audio 

input by way of the rear panel XLR and RCA jacks. 

These monitors also accept digital audio input via a rear panel AES3 

XLR connector and use their own onboard DSP for automatic sample rate 

conversion of all incoming digital audio to 24-bit/96kHz, internal A/D-D/A, 

user-equalization, crossover options and driver protection. With digital 

audio operation, two RJ45 connectors on the rear panel convey volume 

data and digital audio over standard CAT-5 cables to any number of PMC 

monitors daisy chained together. 

I’m very impressed but still experimenting with their setup in my small 

room. The built-in DSP works well to shape the monitors’ frequency balance 

to sound their best considering my small room’s inherent room mode 

issues along with my own monitoring preferences. They are an honest 

pair of monitors that make me work harder at perfecting the sound of my 

mixes. I like their look and styling; their deep cabinets and narrow width 

give them a diminutive look but sonically, they are far from unnoticed; they 

sound huge. The PMC twotwo.6s are big winners here at my Tones 4 $ 

Studios. 

Visit http://pmc-speakers.com for more technical details and information on 

both the twotwo.5 and twotwo.6 monitors as well as the entire Professional 

Monitor Company line of active and passive monitoring systems. 

—BARRY RUDOLPH barry@barryrudolph.com 

CAD Audio Sessions MH510 Headphones 

CAD Audio offers a pair of headphones with specs that rival or exceed 

that of the most expensive professional studio headphones you’d find in a 

world-class recording studio. The result of a decade-long collaboration of 

experience and professional audio expertise, the Sessions MH510 headphones 

come with features and accessories found with studio phones starting 

at $300. 

You get an extra pair of velveteen ear cushions in addition to the included 

leatherette set. I like that you get both straight and curly cords and both 

have locking connectors to change/replace cords. Each pair comes with a 

leatherette carry pouch, a screw-on 1/4-inch stereo gold-plated adapter and, 

just for fun, there is a choice of black, white/red, black/chrome and black/ 

orange colors. 

I received a pair of all black MH510 headphones and immediately 

plugged them into my Aphex Systems Model 454 HeadPod studio headphone 

box. The MH510s have 26-ohm impedance, 50-mm neodymium 

drivers and a maximum power rating of 3-watts. You’ll distort the Aphex amp 

before overdriving them. 

Being able to handle up to 

3-watts of power is the best headphone 

feature in the recording 

studio world. The voice coils in 

the drivers of studio phones will 

burn out with hours of excessive 

and constant volume levels — 

even when the headphones lay 

on the floor unused. Combine that with the “perfect storm” of physical abuse 

and accidental spikes caused by a bad/intermittent connection somewhere 

in the signal chain and you’ve got another set of dead soldiers. 

In my listening tests, I found that the MH510 headphones are built for 

loud playback with a thick overall sound with plenty of bass down to the 

subsonic. They are more efficient than my other studio phones—meaning 

more volume for the same power from the headphone amp. They are also 

slightly lighter weight, very comfortable and seal well over my ears for minimal 

headphone spill. 

The super-rugged and stylish CAD Audio Sessions MH510 headphones 

sell for $159 MSRP. For more about them, go to http://cadaudio.com/ 

MH510.php. 

Steinberg Cubase 7 and Cubase Artist 7 

The significant new features for both Cubase 7 and Cubase Artist 7 

are the completely redesigned MixConsole mixers. The Channel Settings 

window specifies channel/track order for the all-new channel strip. 

MixConsole is laid out and looks like a beautiful, easy on the eyes analog 

audio console mixer. 

The channel strips have high and low-pass filters, a noise gate, fourband 

StudioEQ, three different compressors, a spectrum analyzer, tube/ 

tape saturation section, a brick wall limiter and a maximizer. 

You get Voxengo’s studio-grade 64-band spline CurveEQ, a large, 

built-in mix bus meter with a choice of various standards including 

Europe’s EBU R128 loudness for broadcasters as well as Bob Katz’s 

K-System metering. There is also VST Connect SE for Internet recording 

sessions and the latest version of MixConvert for high quality down mixing 

of multi-channel surround sound mixes. 

On the music composing side is Chord Track, a dedicated track within 

the Project window that identifies the music’s harmony structure and 

generates metadata about chord quality and scale. Changes in Chord 

Track can change the harmonic content of both MIDI sequences as well 

as audio tracks that have already been analyzed with VariAudio. 

Chord Assistant comes with Cubase 7 and provides the ultimate tool 

for songwriters looking for just the right chord and/or suggesting harmonically 

related chord progressions. 

There are many new samples, instruments, 

and MIDI loops for HALion Sonic SE, Goove 

Agent and Beat Designer products. Steinberg also 

announced Nuendo 6, sharing many of the same 

great improvements now available in Cubase 7. 

Cubase 7 sells for $599.99 and Cubase Artist 

7, at $329.99, is cross-platform and runs 32/64- 

bit for Windows and Mac OS X Intel. For now, 

check out http://steinberg.net/en/products/cubase/ 

whats_new.html. 

Barry Rudolph is a recording engineer/mixer with over 30 gold and platinum RIAA 

awards to his credit. He has recorded and/or mixed: Lynyrd Skynyrd, Hall & Oates, 

Pat Benatar, Rod Stewart, the Corrs and Robbie Nevil. 

Barry has his own futuristic music mixing facility and also teaches recording 

engineering at Musician’s Institute, Hollywood, CA. http://www.barryrudolph.com 



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e are a four year college that takes 

sound seriously! Learn Audio Recording 

for Studio, Live Performances, Movies & TV 

UP-CLOSE 

Five Towns College 

Open House Saturday, January 12 at 1 PM 

631.656.2110 305 N. Service Road Dix Hills, NY 11746 www.ftc.edu 

• AUDIO RECORDING TECHNOLOGY • COMPOSITION/SONGWRITING 

• MUSIC TEACHER EDUCATION • MUSIC BUSINESS • MUSIC PERFORMANCE 

• MUSICAL THEATRE • MUSIC TECHNOLOGY • MUSIC HISTORY 

By Jonathan Widran 

After 26 years as owner of his famed original studio on Larchmont (in 

Los Angeles) and a second location in North Hollywood, Skip Saylor 

(http://skipsaylor.com) made bold career decisions in the mid-2000s 

which brought him back to his original passion as an engineer and producer. 

After selling all but one roomful of his favorite equipment, he flew to New 

Zealand for a gig producing and engineering an album for the young funksoul-ska 

band Spacifix, which later won Album of the Year at the Pacific 

Music Awards. Inspired by this experience, Saylor began building a studio 

in the barn on ranch property he had purchased near the Van Nuys Airport. 

“All those classic rooms in town have high ceilings, which made my two 

story barn, with its natural acoustics, the perfect setting for my new room.” 

Saylor, credited on eight of Billboard’s Top 300 selling records of all 

time, brought a star studded history to his now thriving studio. Launching his 

career with gigs on classic projects like Tom Petty’s Damn The Torpedoes 

(under Jimmy Iovine) and The Wiz (Diana Ross and Michael Jackson), 

Saylor later engineered for everyone, from classic R&B artists like the 

Whispers to Mattel Toy commercials. His facility on Larchmont hosted 

many classic sessions, including Grammy winning k.d. lang’s Ingenue, 

Guns N’ Roses’ Use Your Illusion I & II, Ice Cube’s The Predator, Santana’s 

Supernatural, Boyz II Men’s II and Foo Fighters’ The Colour and the Shape. 

“While we do host sessions for outside clients, my studio was built 

around the idea of being an engineer/producer with my own space instead 

of a commercial facility,” Saylor says. “My other studios were successful, 

but I spent a lot of time running the business. These days, I don’t look at 

myself as a studio owner but as a producer/mixer with my own rig. I have 

a couple of young engineers I use on my projects, Ian Blanch and Lester 

Mendoza, and I love working in my own space where I have all the tools I 

need to make great recordings.” 

Having used some of the highest end new and vintage equipment, Saylor 

is selective in the gear he chooses to work with to ensure excellent sound. 

The centerpiece is the 100 input SSL that he has had since the mid-‘90s, 

which he calls “the best sounding board I ever owned.” 

Saylor’s wife, singer-songwriter Lynn Carey Saylor, has been endorsed 

by several amp and guitar companies, so the studio is full of Goodsell 

and Wizard Amps (which AC/DC uses) as well as guitars, a classic 1956 

Hammond B-3, a Yamaha Grand, in addition to classic mics and outboard 

gear like an EMT 252, AMS Reverb and Delays and UREI Limiters and 

Compressors. 

In Saylor’s earlier days as a mixer, he often resisted the advice friends 

and colleagues gave him about the value of diversification. But with the 

new studio, that has happened naturally, and he has worked on a unique 

array of projects in recent years. Two recordings typifying Saylor’s slate 

of projects include vocalist/guitarist Jonathan Butler’s “Grace and Mercy,” 

which hit No. 1 on the Billboard Contemporary Jazz chart and No. 9 on 

the Gospel charts; and a self titled project for indie rockers Bootstraps (on 

Redeye Records, original label of the Black Keys), whose songs received 

10 placements (Parenthood, Private Practice) even before the album was 

released. Songs from that project were also in an independent film, which 

earned “Best Music in a Film” at the Nashville Film Festival. 

Saylor has recently been tapped to be Director of Sound for the animated 

film, California Dreamers, the brainchild of writer-director-producer Jay 

Segura, which finds Saylor restoring 24-track tape recordings of hip-hop 

greats including Kurtis Blow, Melle Mel and Tone Loc. The soundtrack also 

features new productions. Earlier in 2012, he co-produced and mixed “High 

Off The Fame,” a Top 30 dance single by Candyman 187 featuring Snoop 

Dogg. Other projects include a single with Rap legend W.C. (Westside 

Connection) and European star Brainpower and material for Los Angeles 

acts Ceasefire, LA Velvet and End of Ever. 

Sometimes dubbed the Compound, Saylor’s facility has bedrooms, kitchens 

and living areas for artists to utilize during their projects. “I enjoy the 

diversity of work I do here,” says Saylor, “and I strive to offer the best tools 

for making the highest quality recordings, providing an environment where 

the artist is comfortable and can thrive.” 

Contact Skip Saylor, 818-300-0400 


THE ONLY U.S. MUSIC CONFERENCE 100% DEDICATED TO SONGWRITERS AND COMPOSERS! 

TAKE YOUR MUSIC TO THE NEXT LEVEL 

The ASCAP “I Create Music” EXPO puts you face-to-face with 

the most successful songwriters, composers and producers 

who generously share their knowledge and expertise. 

HURRY! 

Deep Discount 

Pricing Ends 

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Celebrity Q & A’s 

Master Classes 

Songwriting & Composing Workshops 

Publisher & Business Panels 

DIY Career Building Workshops 

Showcases and Performances 

Attendee Song Feedback Panels 

Networking Opportunities 

State-of-the-Art Technology Demos 

Leading Music Industry Exhibitors 

ONE-ON-ONE SESSIONS 

We are excited to again offer the 

tremendously popular One-on-One Sessions 

– a valuable opportunity to spend 15 minutes 

with a songwriter, composer, music supervisor 

or music industry executive. 

Register early because they fill up fast. 

Connect with ASCAP EXPO on 

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ASCAP pays members for live 

performances at venues of any size. 

www.ascap.com 


STUDIO MIX 

SPOTIFY RELEASES “LIVE IN 

STUDIO” SESSIONS: Spotify has 

partnered with Spoon drummer and 

acclaimed producer Jim Eno to 

record exclusive “live in the studio” 

Spotify Sessions with the Shins, 

Michael Kiwanuka, Father John 

Misty, Polica, Gardens & Villa and 

Tennis. All Sessions were recorded 

in Eno’s state of the art studio, 

Public Hi-Fi, in Austin, TX (when 

the bands were in town for Austin 

City Limits). The producer-engineer 

did two-a-days: Twice each day, a 

band rolled up in their van or bus, 

loaded in all their gear, got levels 

and cut several tracks live in the 

studio. Visit http://spotify.com. 

SILVERLAKE UPGRADES TO 

ARGOSY: Full-service audio 

post production facility Silverlake 

Sounds has acquired an Argosy 

Dual 15 Workstation for its main 

room, Studio A, which is occupied 

by owner Jason Altshuler, a 

veteran television and film sound 

mixer and editor. The boutique post 

sound shop specializes in mixing 

for feature films, on-air promos, 

animation and trailers, and also 

provides in-house music supervision, 

editorial, voiceover recording, 

ADR and foley services, and custom 

music production. Silverlake 

Sounds, which encompasses five 

studios at its Burbank, CA location, 

including an ADR/voiceover recording 

room, focuses on promotional 

packages for network television 

shows. See http://silverlake 

sounds.com. 

“Pay attention to an artist’s live show. 

If an audience doesn’t respond, [the 

song is] probably not going to be that 

great. Anytime I’ve had success with 

an artist, they’ve had a great live 

show. If an artist fails, chances are 

their live show sucks.” 

Interviewed in MC November 2012 

Jerod Harris/WireImage 

// Solange Knowles True Listening Party // 

Solange Knowles and writer, producer, artist and author Devonté “Dev” Hynes 

(aka Blood Orange and Lightspeed Champion) celebrated at Los Angeles, CA’s 

Sonos Studio with a listening party for the new EP True. At the event, Knowles 

danced to her own music, played for the crowd and shared with friends and 

fans what inspired the eclectic sounds of True. Notable attendees included 

Andy Samberg and Joanna Newsom, Akiva “Kiv” Schaffer, Jorma Taccone, 

Kelly Rowland, BJ Panda Bear and more. Pictured at the event (l-r): Schaffer, 

Samberg and Taccone (all members of the Lonely Island). 

// Monks of Mellonwah Track In Vegas // 

Fresh off their win at the LA Music Awards for Best New International Band, 

Australian act the Monks of Mellonwah tracked their new record with producer 

Keith Olsen at the Studio at the Palms, in Las Vegas, NV. The band were also one 

of Music Connection’s “Top Prospects of 2012.” Pictured (l-r): members Joshua 

Baissari and John de la Hoyde; engineer Rob Katz; producer Keith Olsen; engineer 

Kevin Luu; and members Vikram Kaushik and Joe de la Hoyde. 

David Goggin 

// Corey Smith Records Junkyard Revival in Memphis // 

For his ninth album, Junkyard Revival, popular touring artist Corey Smith 

picked Ardent Studios in Memphis, TN, and renowned engineer John Hampton 

(White Stripes, Gin Blossoms, Replacements) to capture his new tunes. 

Pictured (l-r): Mike Wilson, second engineer; Antwane McMullin, drums, 

percussion; Corey Smith, vocals, guitars; Lee Davis, keys; Kris Dale, bass; 

Mike Hines, guitars, background vocals; and John Hampton, engineer. Visit 

http://www.ardentstudios.com. 

// Della Mae Go Wireless With DPA // 

By blending traditional bluegrass technique with modern songwriting themes, 

Boston based group Della Mae are bringing a fresh perspective to their music. 

When the members of the band decided to step up the quality of the group’s 

live performances and achieve more mobility on stage, they chose DPA Microphones. 

Dedicated to crafting exquisite American roots music in the tradition 

of such greats as Willie Nelson and Johnny Cash, Della Mae sought out the 

DPA mics for maximum mobility and to bring out the best sound from their 

instruments. 


STUDIO MIX 

—ANDY MESECHER andym@musicconnection.com 

David Goggin Tim Shahady 

// Amendola Looking to Pick Froductions Artists // 

Producer-engineer Matty Amendola (pictured) has been keeping busy with his 

825 Records’ Studios in Brooklyn, NY. The knob twister recently completed 

recording/producing music for a “Live at Lincoln Center” commercial as well 

as composing a music library for MetLife. He also began producing/recording/ 

co-writing/playing on Jody Porter’s (Fountains Of Wayne) new solo album. 

On top of production duties, Amendola is now stepping outside the box and 

launching Froductions, a label-like service company for indie artists. For 

contact information on all endeavors, visit http://mattyamendola.com. 

// Super Home Studio Includes Blue, Vintage King, 

Audio Perception, JSX Audio, more // 

Blue Microphones has unveiled a $3.5 million state-of-the-art home recording 

studio, designed and curated in collaboration with multi-Grammy-winning 

mixer and producer Jack Joseph Puig, Vintage King, SSL, Audio Perception, JSX 

Audio and several other high-end audio partners. The studio is equipped with 

the complete line of microphones from Blue, vintage equipment from Vintage 

King, the world’s first wraparound SSL Duality console and custom Barefoot 

speakers. Not just limited to the studio, the entire house is hot-synched with 

mic cable, fiber optics and digital lines so that artists can record anywhere, 

including the great room, library and outdoor stage. Pictured is Season 7 Idol 

contestant and Warner Bros. artist Josiah Leming trying the outdoor recording 

stage above a spread of the main mixing room. 

// Izzy Stradlin Cuts “Baby Rann” at Ocean Way // 

Rock icon Izzy Stradlin has released “Baby Rann,” a track that was recorded 

and mixed in Ocean Way’s Studio B in Los Angeles, CA. Joining Stradlin on 

guitar and vocals in the studio were Rick Richards on lead guitar, J.T. Longoria 

on bass, Joey Huffman on Hammond organ, and Taz Bentley on drums and 

backing vocals. Longoria also served as recording engineer with Scott Moore 

assisting. Pictured in session at Ocean Way are (l-r): Longoria, Bentley, 

Stradlin and Huffman. “Baby Rann” is now available on iTunes. 

// Senses Fail Travel to Burbank For Fifth Album // 

Senses Fail are currently recording their fifth full-length album in Burbank, 

CA. Guitarist Zack Roach has been chronicling the band’s experience in the 

studio and living in Los Angeles (http://bit.ly/VNwoGp). The New Jerseynatives 

are working with producer Shaun Lopez (Far, Deftones) at The Airport 

Studio and Red Bull Studio. The album is expected to drop in spring 2013. 

Senses Fail have also announced dates for a UK tour in 2013. 

Photo courtesy: Newmastering Studio; Milano - Italy 

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PRODUCER CROSSTALK 

Matt 

Serletic 

323.363.2339 

www.mikewellsmastering.com 

From Collective Soul to Virgin Records CEO to Emblem Music 

By Rob Putnam 

Producer, Grammy winner and former CEO of Virgin Records, Matt 

Serletic joined his first band when he was barely a teenager. That 

outfit went on to become Collective Soul, an act he has produced. 

Serletic studied music at the University of Miami and, after recording 

informally with a number of acts, segued into the role of producer. He’s 

since worked with a myriad of artists including Gloriana (signed to his label 

Emblem Music), Santana and Joe Cocker. Mega-sellers Matchbox Twenty 

The three most important things 

he’s learned as a producer are: 

• Listen to the song before you 

judge it; to what the artist is trying 

to do and to what your equipment 

tells you. 

• There are no rules. It’s easy to say 

that you start a song with a drum 

set and have this procedural construct. 

That doesn’t have to be. 

• Keep working. An easy way for the 

world to pass you by is to get out 

of the mainstream and stand on the 

sidelines. One of the great things 

about music is that you can make it 

when you’re 80. Look at Joe Cocker 

and Willie Nelson. 

is another band on his label and he 

has produced all of its records including 

North, which was recently No. 1 on 

the Billboard 200. 

Before setting foot in a studio, 

Serletic likes to map out a plan for a 

record. “I start with the song and not 

even in the studio,” he says. “I like to 

understand the material [first]. And 

whether I’m writing or not, I try to get 

involved deeply with each song, try to 

help impact the quality and understand 

how there can be a unique arrangement 

ahead of time so I’m not going in 

blind. You have some vision for each 

song and for how the whole album is 

going to shape up.” 

Knowing where to start a record is 

one thing. Knowing when and where 

to end it is quite another. “That’s something 

you learn over time,” the producer 

explains. “Often I’ll tear down a record and build it back up in a 

rough mix. It ensures that the rhythm is appropriate. The record has to 

move, it has to have a sense of motion. Sometimes an arrangement can 

get over-baked if the momentum is stopped. On the other hand, there’s a 

real reason to add more if the motion doesn’t continue. Sometimes what’s 

delightful is that the last thing you put in ends up supplanting something 

that was there earlier and you’ve got this great combination.” 

Serletic foresees a significant expansion of producers’ and engineers’ 

roles in coming years. “It’s a challenging time to remain narrow in your 

career outlook, though the skill sets are valuable,” he says. “The world 

is going in a different direction. You have to be involved in more of the 

creative process, whether that’s helping find or develop acts. A lot of that 

is being left to the person that’s going to roll up their sleeves and work 

with the artist. Traditionally, that was the record label’s role. A producer 

that does artist development, marketing and even coaching helps grow 

their own career.” 

Emblem Music identifies likely artists by going to clubs and, of course, 

by scouring the Internet. But unearthing a band that enjoys a strong online 

presence by no means guarantees success. “The challenge is to have 

something worthwhile behind that,” Serletic observes. “You can have big 

social media numbers but you have to be able to perform live or have 

something unique that’s going to catch the public’s eye and ear. Doing well 

online is a great way to get discovered but you have to be able to stand 

up to scrutiny after that.” 

As someone that runs a record label and a production company, some 

of Serletic’s upcoming projects are records that are already in release. For 

example, Gloriana’s A Thousand Miles Left Behind dropped earlier this 

year. But he’s working with the band to choose singles and plan videos. 

He is also involved with Matchbox Twenty’s tour plans. Additionally, he’s 

developing a free app called Zya that will allow users to get involved in 

music making. It is expected next year. 

Contact Alia Fahlborg / Nettwerk Producer Management, 

323-698-1845, alia@producermgmt.com 



EXEC PROFILE 

—ANDY KAUFMANN 

BACKGROUND: Having graduated 

from Berklee College of Music 

in ‘87, Debbie Cavalier became 

the prestigious school’s Dean of 

Continuing Education ten years 

ago. As part of the group that 

founded the institution’s online 

wing, the newly named CEO has 

been a critical component in the 

design of their digital version. 

Cavalier is also a working musician, 

fronting the lauded children’s 

group Debbie and Friends, 

one of whose songs appeared on 

the 20ll Grammy winner for Best 

Children’s Album. 

Debbie Cavalier 

VP, Online Learning and 

Continuing Education / 

CEO Berkleemusic 

Years with Company: 14 

Address: Berklee College of Music, 1140 Boylston St., 

MS-855, Boston, MA 02215 

Phone: 617-747-2147 

FAX: NA 

Web: berkleemusic.com 

E-mail: dcavalier@berklee.edu 

Clients: NA 

“Our faculty can’t believe how much they interact with the students, how much 

the students progress, how close they feel to the students and the students feel to 

each other. A real community forms with these courses.” 

Educating Young and Old: 

I majored in music education and 

taught for many years in public 

schools. As I taught, I found my way 

into music education and publishing. 

A lot of the methods I was using and 

chord arrangements I was writing I 

was able to get published. I eventually 

left teaching to be a full-time music 

education publisher with Warner 

Bros. So I went from being a music 

educator to being a music education 

publisher and then, in the late ‘90s, 

I came back to Berklee to run Berklee 

Press. A couple years into that, 

I became the Dean of Continuing 

Education, which included the Online 

school. 

Long Distance Learning: 

Berklee has a long history in continuing 

and distance education. In 

the ‘60s and ‘70s, there was a distance 

learning course through the 

mail. You’d get 25 lessons, fill out 

your time and mail it back. So becoming 

an Online distance learning 

leader was just part of Berklee’s 

DNA. Berklee’s really good about 

looking ahead and thinking about 

where we want to be, so [the online 

school] was part of the strategic vision 

for the college. This year alone, 

we’ll teach 12,000 students from 150 

countries in our online school. For 

the past eight years, we’ve won the 

Best Online Course award from the 

Computing Ed Association across all 

disciplines. 

From Ashes, Something Big: 

We started in 2001. That was 

around the dot com bubble burst, so 

there were a lot of talented people 

looking for employment in a more 

secure working environment. There 

were people available, really talented 

people, who are still with us 

today. A lot of people didn’t believe 

you could teach music online, but 

we were able to prove we could. We 

started with just a couple of courses 

in the first year and they were wildly 

successful. Now, we’ve got a catalog 

of about 125 courses and we’ll be offering 

online degrees in 2014. 

The Teach Act: 

The sky was the limit as far as what 

we could do, unlike book publishing 

where you can’t use copyrights 

without licenses and restrictions. 

Right when we launched the online 

school, congress passed something 

called the Teach Act, which enables 

accredited, online, password protected 

educational institutions to use 

copyrights in the way you would in a 

classroom, so we could teach music 

in a way that we would in a classroom. 

There were no restrictions. 

A Learning Community: 

Our students are primarily adult 

learners between 25 and 45. They’re 

passionate about music. A lot of 

them dreamed of going to Berklee 

and never had the opportunity. Our 

faculty can’t believe how much they 

interact with the students, how much 

the students progress, how close 

they feel to the students and the students 

feel to each other. A real community 

forms with these courses. It’s 

a powerful, life-changing experience 

for a lot of people. For the 12-week 

experience, they’re working with 

each other on a daily basis, critiquing 

each other and many of them go on 

to collaborate after the courses end. 

A Technological Advantage: 

We’ve built tools that make it really 

nice for students. Rather than having 

an instructor mic their critique 

of a student, they can click a button 

and record a voice over. We’ve got 

a built in video tool, so right from the 

learning environment you can record 

yourself. We have the same “like” 

features you see on Facebook, so, 

if a student’s assignment has a particular 

note, a teacher can highlight 

it or another classmate can “like” it 

and it bubbles up accordingly. The 

tools are really robust. We have a 

video chat environment as well, so 

every week the instructor holds an 

hour-long chat session. 

Going Legit: 

For the past 10 years we’ve been doing 

continuing ed, so students pretty 

much self-assess, although we have 

a team of student advisors who help 

students find the right course or certificate 

program. We have programs 

that range from three to 12 courses. 

There’s currently no true application 

and admission process, but when 

we offer degrees in 2014 there will 

be. Students will be accepted into 

the program rather than just enroll. 

Physical Meeting Virtual: 

Up until now, [the schools have] 

been very separate, in that we serve 

two different audiences. On campus 

is typically the 18 to 22 year old 

undergraduate, full-time musician. 

Only 30 percent of the students who 

apply are accepted, so it’s a very 

special group we bring to Boston. 

The online school is typically adult 

learners, professional musicians 

who are trying to hone their skills or 

advance career opportunities. It’s a 

very different audience, but the on 

campus program is leveraging a lot 

of the Online efforts that we’ve developed 

in a way that makes sense 

for that population. 

Making Things Flexible: 

Our president, Roger Brown, would 

like to see the effective undergraduate 

students have the opportunity 

to take two years of study with the 

online program, from whatever 

country they live in, and then those 

credits would transfer in and they 

could come to Boston for two years. 

It would really make it more affordable. 

Another thing is that a lot of our 

students have opportunities, with the 

potential of never coming back. Perhaps 

they could study Online with us 

while they’re on the road and then 

continue when they’re finished. We 

think of the Online school as a tool 

to help the undergraduate population 

in so many ways. 

The Global Classroom: 

We often get faculty and students 

who are surprised by how [the international 

nature of Online] enhances 

instruction so much. You might be in 

a music licensing course and everybody’s 

focused on ASCAP / BMI for 

performance rights organizations. 

But then you have students from all 

over the world talking about how it’s 

handled differently with their organizations. 

It adds a whole new dimension 

and really makes a difference. 

Every course benefits from that international 

mix. 

Real World Experience: 

It makes a difference to our students 

to know that we’re applying the 

things we’re teaching to a real music 

project. Whether it’s marketing or 

production or songwriting, I’m learning 

from our courses and faculty in 

the same way our students are and 

applying it to a real music project 

and seeing the results. I don’t think 

I’d be effective in my role without 

that experience. 

Learning Whatever’s Necessary: 

We are branching into other areas 

of study. To be a musician today, 

it’s really important, for example, to 

have a visual presence with your 

music. My songs on YouTube get 

a lot more attention than my songs 

that are just on iTunes. So we have 

courses we’re developing in photography 

and video editing. We’re trying 

to arm musicians with the skills 

they need. It’s about whatever our 

students need and we’re really proactive 

in asking them what they want 

Knowledge for Free: 

There are so many resources available 

Online. We have sample lessons 

freely available, our YouTube 

channel has hundreds of lessons. 

We even have a website called 

Berklee Shares, where we have free 

Berklee lessons. If you go to http:// 

coursera.org/berklee, you’ll see the 

first four free courses we’re offering. 

It’s a wonderful time to be in charge 

of your own career and there are 

a lot of educational resources out 

there, especially from Berklee, to 

help support that. 


BUSINESS AFFAIRS 

Music Connection’s 

Business Affairs 

delivers up-to-date 

information about the signings 

of new artists, significant 

developments at major and 

indie labels, as well as news 

of managers and attorneys who 

are active in the A&R aspect 

of the music business. So 

that MC can provide the most 

current information possible, 

please send any industry news, 

buzz or rumors that need to be 

verified to BBatMC@aol.com. 

OPPS 

• Kong Monster Rock, an Internet 

radio show hosted by the infamous 

Buddhaman, is seeking 

rock acts. A former DJ with KROQ, 

Buddhaman is jonesing for great 

rock bands. He will not only play 

music from up-and-coming artists, 

he’ll also invite them to perform live 

(acoustically) on the air. Broadcast 

to over 100 countries, the show 

reaches 10,000 listeners per month. 

The program is part of the Radio 

Domination Streaming Network 

(RDSN) (http://rdsn.net) located in 

Sherman Oaks, CA. Anyone interested 

can contact buddhaman999@ 

gmail.com with information about 

your act and links to your music. 

Additionally a new show that is 

also part of RDSN caters to metal 

fans. Called Monster Metal, it is 

broadcast on The Razor KXRZ and 

is hosted by the “Queen of Metal” 

herself, Ondrea Faillace. Andy 

Freaking Ford is the Music Director. 

Metal acts can go to http://rdsn.net/ 

kxrz for submission details. 

MOTÖRHEAD FIGHT FOR THEIR FANS 

• The Longe Media Conference 

2013 Music Expo is currently 

looking for talented musicians to 

take part in showcases. The conference 

is slated for the Diamond 

Starr Hyatt Regency in Greenwich/ 

Stamford, CT in September 2013. It 

promises to be packed with industry 

pros and will have seminars offered 

by some of the most notable superstars 

and insiders in the biz, including 

execs from Capital Records, 

Island Def Jam and J Records. You 

can get more information at http:// 

conference.longemagazine.com 

and http://longemusicians.eventbrite 

.com. The deadline for submissions 

is March 2013. 

• MIDEM has announced that 

Mark Hoppus, co-founder of 

the rock band Blink-182, will be 

sharing his experience in the 

“Artists Speak to Artists” sessions, 

a series of conversations 

between artists and the audience 

that promise to be a key attraction 

at MIDEM’s Direct2Fan Camp. 

Other acts confirmed for the “Artists 

Speak to Artists” program include 

singer-songwriter Julia Nunes, an 

indie sensation with over 50 million 

plays on YouTube and who raised 

$77,888 through crowdfunding platform 

Kickstarter; and Paul Miller, 

aka DJ Spooky, a multimedia artist 

whose DJ app has clocked up more 

than 10 million downloads. 

The Direct2Fan Camp will run 

throughout the four-day event. 

MIDEM is a yearly event dedicated 

to the music business, which takes 

place at Cannes, France (the French 

Riviera) from Jan. 26-29, 2013. 

Please visit http://midem.com. 

• For those who like contests, 

check out Audiocomps. This website 

has an ongoing list of music 

contests for artists, bands, songwriters, 

DJs, music producers and 

more. You can even win some great 

cash prizes. The list is constantly 

updated and current. Go to http:// 

audiocomps.com for details. 

• The Telluride Troubadour Competition 

is open for submissions. 

Motörhead love when fans buy their records, but not this time. A new box set, 

called Complete Early Years, was released by a company that owns the rights to 

the band’s early recordings and they are charging $600 for it. The band wants 

to make sure fans are aware that they have no involvement in releasing such an 

expensive box set. Motörhead’s iconic frontman, Lemmy, said, “Unfortunately 

greed once again rears its yapping head. It really bothers me that these people 

would put this out at these prices, especially in this day and age, when money 

is tight. There you go again labels, trying to squeeze out every last dime from 

our fans.” To get the latest, go to http://imotorhead.com. 

SWEDISH GUITARIST INKS LONG-TERM DEAL 

This event is a nationally recognized 

competition open to anyone who 

writes and performs original music 

and who is not currently signed to a 

major recording or publishing deal. 

Contestants are judged on the quality 

of composition, vocal delivery and 

overall performance. Finalists are 

awarded cash and prizes, as well 

as critical acclaim, well-deserved 

recognition, and a chance to perform 

on the festival main stage. 

Submissions will be accepted until 

April 13, 2013. For additional information, 

visit http://bluegrass.com/ 

telluride/contests. 

LABELS • RELEASES • 

SIGNINGS 

• Susanna Hoffs gave a special 

holiday treat to music lovers, 

From Me to You, a three-song EP 

of some of her favorite 1960s gems. 

A “labor of love” in her words, the 

EP features her interpretations of 

the Jaynetts’ “Sally Go ‘Round 

The Roses,” the Beatles’ “All 

I’ve Got to Do” and the Zombies’ 

“This Will Be Our Year.” “It was 

a pure pleasure to record songs 

that I adore and have dreamed 

of singing for years,” Hoffs says. 

American Songwriter noted, “The 

honey-voiced songbird delivers a 

solid album with a feel-good vibe, 

which sounds authentic in its union 

of 1960s simplicity and 2012 sophistication 

(à la Dusty Springfield 

meets Adele).” To check it out, visit 

http://susannahoffs.com. 

• Global superstar Ke$ha has 

released her sophomore album, 

Warrior, through Kemosabe/RCA 

Records. Executive produced by 

Kemosabe Records head Dr. Luke, 

the album features tracks written 

by Ke$ha, as well as collaborations 

with producers, writers and 

Nineteen-year-old Swedish 

guitar star, Sebastian 

Hansson, has signed a longterm 

management deal with 

Another Pretty Face (APF) 

Management and indie label, 

Allure Records. Hansson 

achieved fame in his native 

Sweden with the rock 

band Huntington, which 

he fronted. He explains, “I 

came to America to study 

and become a successful 

artist. And, now, I’m getting 

that chance.” Hansson, 

who visited Sweden for 

the holidays, is returning 

to the US to work on his 

first CD of original songs 

for release in America. 

APF Manager John Elcar 

says, “Some of the songs 

Sebastian wrote prior to 

leaving Sweden are naturals 

for the American pop/ 

rock audience.” Contact 

sebastianhansson_2@ 

hotmail.com for more 

information. 

musicians including, will.i.am, Max 

Martin, Benny Blanco, Cirkut, 

Bonnie McKee, Wayne Coyne, 

Iggy Pop, Patrick Carney, Ben 

Folds, Greg Kurstin, Kojak, 

Ammo and Billboard. 

Ke$ha says, “I am so excited 

to finally share this record with all 

of my amazing ‘Animals.’ I’ve been 

working for a year on this record and 

have collaborated with some of my 

idols. This process has been long 

and intense and I couldn’t be more 

stoked.” To check it out, visit http:// 

keshasparty.com. 

• Victory Records has announced 

that the Reverend Horton Heat 

has joined the Victory roster. 

The Rev comments, “We are very 

excited to be a Victory band. Since 

we are going to get back to doing 

some edgier stuff, it makes perfect 

sense to be on this label.” Ready to 

revive a genre that’s been watered 

down, the Reverend and company 

have jump started their headlining 

Stewed, Screwed & Tattooed 

tour that will ignite over 57 cities 

across the US through 2013. You 

can watch for their Victory Records 

debut at http://reverendhortonheat. 

com. 

• Attention young girls: prepare to 

lose your voices. Ryan Cabrera 

is teaming with Teddy Geiger and 

Tyler Hilton for a 2013 Acoustic 

Series tour. The “I See Love” singersongwriter 

Cabrera announced he 

will be going out on tour with “For 

You I Will” singer Geiger, and One 

Tree Hill actor Hilton. The three 

are planning to steal the hearts of 

ladies across the country. Fans will 

also get a chance to meet Cabrera 

himself with the VIP upgrade, which 

includes a Q&A, a signed Tourspecific 

“Doodle” poster, and a commemorative 

VIP laminate. For more 

information about each show, you 


BUSINESS AFFAIRS 

—BERNARD BAUR 

can visit http://ryancabrera.com, 

http://tylerhilton.com or http://face 

book.com/teddygeiger. 

• Never before heard music by 

legend Townes Van Zandt is 

being issued in a two-CD set via 

Omnivore Recordings. Omnivore 

will give listeners more to discover 

when the 28-song, two-CD set is 

released in February 2013. The 

recordings that comprise the set 

have been hidden away since their 

initial recording and are now presented 

with the cooperation of Van 

Zandt’s estate. Following 10 studio 

albums, several singles and several 

live albums, the troubled life 

of the influential singer-songwriter, 

performer and poet came to a close 

on New Years Day in 1997. 

Now, after many years, a set of 

previously unavailable music from 

the Texas artist’s classic albums 

High, Low & In Between and The 

Late Great Townes Van Zandt is 

being presented to the world. One 

disc features outtakes and alternate 

takes/mixes of tracks from those LP 

sessions; the other highlights solo 

demos. For additional information, 

go to http://omnivorerecordings.com. 

PROPS 

• Daryl Hall & John Oates are 

working with Borgata Hotel Casino 

& Spa and Live Nation to raise 

money in an effort to bring relief 

to Atlantic City and surrounding 

areas in the wake of Hurricane 

Sandy. “In light of the devastation 

that Hurricane Sandy caused, we’re 

going to donate 100 percent of the 

proceeds from our sold-out show at 

the Borgata to the Red Cross. We 

will also be selling an event T-shirt 

with all of the proceeds going to the 

Red Cross, as well,” says Hall. “This 

BETH HART’S BANG BANG BOOM BOOM 


really means a lot to me. These are 

my people that got hurt. This is my 

neighborhood.” To find out more, or 

help out, go to http://hallandoates. 

com. 

• Dave Grohl has been confirmed 

as Keynote Speaker for SXSW 

Music 2013. The keynote will take 

place on Thursday, March 14, 2013 

at the Austin Convention Center, the 

hub of SXSW Music events. The 

South by Southwest Conferences & 

Festivals (March 8 - 17, 2013) offer 

the unique convergence of original 

music, independent films, and 

emerging technologies that foster 

creative and professional growth 

alike. You can visit http://sxsw.com 

to view a schedule of all events. 

• Christmas song hopes to save 

donkeys. Canadian singer-songwriter 

Gerry Asmus has released 

a Christmas song “Who Is This 

Child? (The Donkey Song)” which 

he is hoping will raise much-needed 

funds for Safe Haven for Donkeys 

in the Holy Land, a charity helping 

donkeys in Israel and Palestine. 

Asmus says, “When I was asked to 

write a Christmas song, I wanted to 

approach it from a different angle, 

so I thought… what about the donkey? 

It allowed for a retelling of 

the Christmas story with a child-like 

innocence, and at the same time 

would raise funds for a cause that 

helps donkeys in need.” To learn 

more about the cause, go to http:// 

safehaven4donkeys.org. 

• The Ronnie Lippin Cancer 

Support Program, a newly designed 

program which provides 

emotional and social support 

for people in L.A. with cancer, is 

going beyond the medical model. 

The Program is looking to provide 

Armed with one of the most heart-wrenching voices of our era, and a backstory 

packed with incredible opportunities and lamentable loss, Beth Hart will 

release a new album, Bang Bang Boom Boom, on April 9, 2013 via Provogue 

Records/Mascot Label Group. Produced by Kevin Shirley (Aerosmith, Led 

Zeppelin), the album features 11 blues, cabaret, rock, jazz and soul-influenced 

tracks, all written by Hart and recorded live at Shirley’s Malibu, CA studio. 

The record is a life-changing endeavor for the Los Angeles born artist, who 

brought her life experiences, both positive and negative, together for what 

one European outlet called “a career-defining album.” For additional details, 

visit http://bethhart.com. 

Jeff Katz 

Jay Hurtado and Nambo of Vinyl 

Soul are relentless DIYers. Their work 

ethic has brought them tremendous 

results. And, they’ve accomplished it 

all on their own. 

The ultimate buskers, Vinyl Soul play 

their unique form of hip-hop Latin 

soul on the streets, from Hollywood 

to Japan. 

In fact, they toured East Asia for six 

months on their own dime. There, 

they played the streets and house 

concerts, which landed them gigs 

on Japanese TV, as well as radio 

airplay and writeups in local publications. 

The American Navy even 

offered them an “all expenses paid” 

tour the following year. 

Upon returning to the states, they 

won Wrigley’s “Vive tu Musica,” a 

nationwide battle of the bands, and 

received 32 hours of studio time in 

which they managed to record a 

emotional support and eliminate barriers 

to services which may include 

issues such as transportation, financial 

support, housing, employment 

counseling and legal referrals, to 

name a few. The program is named 

after Ronnie Lippin, one of the great 

all-time music publicists who passed 

away from a rare form of breast 

cancer in 2006. The Lippin Family 

Trust which is funding this program 

through Tower Cancer Research 

Foundation, has also funded an 

information and resource line for 

cancer patients as well as research 

grants aimed at finding cancer cures. 

Contact jokeefe@lippingroup.com for 

more details. 

THE BIZ 

• INgrooves Fontana has created 

INresidence Artist Services, 

an in-house artist marketing 

and promotion division. 

INresidence will provide select 

clients with streamlined access to 

product management, radio and 

video promotion, sync licensing, 

online marketing, publicity support 

and branding and sponsorship 

services. “As more artists release 

music independently and independent 

labels look to become more 

15-track album. They then toured 

Mexico in support of it. 

Along the way, Vinyl Soul scored 

opening gigs for Latin Grammy winner 

Daddy Yankee at the Hollywood 

Palladium, and Grammy winner 

Camila at the Gibson Amphitheater. 

That exposure not only spiked their 

social media numbers, it got them 

an invitation to open for Grammy 

winner Natalia Jimenez in Dallas 

TX, which was a series of concerts 

for FOX’s new channel MundoFOX. 

That led to a nomination on MTV’s 

Tr3s for “Best Breakout Band Los 

Angeles,” and the chance to perform 

at “Oscars Night America.” 

This year, they completed their latest 

self-produced full-length, Dream, 

which was mixed by Bob Lanzner. 

(Prince, Snoop Dogg). 

Visit http://vinylsoulmusic.com. 

Have a successful DIY strategy to share? Email bbatmc@aol.com. 

efficient, we see an opportunity to 

provide our clients with centralized 

resources to more effectively develop 

their projects given the new 

realities of the marketplace,” said 

INgrooves Fontana President Dave 

Zierler. 

• The National Conference of Personal 

Managers (NCOPM) has 

filed a federal lawsuit challenging 

the constitutionality of the California 

Talent Agencies Act (TAA), 

which only allows “licensed” talent 

agents to procure employment for 

artists. “The provisions, interpretation 

and enforcement of the TAA 

have resulted in personal managers 

being unfairly singled out without 

due process and denied the ability 

to pursue lawful business opportunities 

to the detriment of all personal 

managers and the artists which they 

represent,” said NCOPM President 

Clinton Ford Billups Jr. 

MICRO-BIO: Voted one of the 

“Top Music Business Journalists” 

in the country, Bernard Baur is the 

connection between the streets and 

the suites. Credited with over 1,200 

features in a variety of publications, 

he’s a Contributing Editor at Music 

Connection.

“My #1 Country Hit 

Started With a Phone Call to TAXI” 

Elliott Park – TAXI Member 

Photo: Elliott (left) with publisher, Michael Martin 

I used to think that living in 

Clyde, Texas (Population 3,345) 

really limited my chances of ever 

having success in the music 

business. But all my friends and 

family members live here, so I’ve 

never wanted to move to 

Nashville. 

Although I love to write songs, 

I felt isolated when it came to 

getting them heard by anybody in 

the music business. Then a friend 

told me that TAXI would bring 

real opportunities for my music 

right to my front door. 

I Used a 4-Track 

I signed up and sent in songs 

that I demoed with my digital 

piano in my little home studio. 

The A&R people at TAXI liked 

my songs and began sending 

them off to some pretty high-level 

people in Nashville. 

All the sudden, doors started 

opening. With the connections I 

made through TAXI, I began to 

have meetings with some of 

Country Music’s top executives, 

and signed a staff writer deal with 

a great publisher in Nashville. 

Tim McGraw, Rascal 

Flatts and Faith Hill 

Put My Songs on Hold 

Over the next three years, my 

songs were considered by a 

Who’s Who of Country Music, 

but the “big cut” eluded me. I 

learned to be patient and worked 

even harder on my songwriting. 

Then, my publisher hooked 

me up with veteran songwriter, 

Walt Aldridge. Together, we 

wrote a song called, ‘I Loved 

Her First,’ and finally, I hit pay 

dirt! 

#1 Hit on Two Charts! 

The group ‘Heartland’ cut our 

song and released it as a single. 

It started out slowly, then gained 

The World’s Leading Independent A&R Company 

1-800-458-2111 

momentum, and eventually made 

it all the way to the Number One 

spot on the Billboard and R&R 

Country charts. 

Could that have happened 

without TAXI? Probably not. 

Although there were many 

people that helped me once I 

signed my publishing deal, it was 

TAXI that made that all important 

first connection for me. And I 

didn’t have to leave my 

hometown to do it. 

Can TAXI do the Same 

Thing for You? 

If your music is competitive, 

the answer is yes! And if it’s not 

quite ready yet, TAXI’s A&R 

people will help you with that 

too. You’ll also get two FREE 

tickets to TAXI’s world-class 

convention with your 

membership. Just one ticket for 

some other conventions cost 

twice as much as your TAXI 

membership! 

Make the phone call I did, and 

see what TAXI can do for you – 

no matter where you live. 


SIGNING STORIES 

NRG Pictures 

Marc Broussard 

Date Signed: September 2012 

Label: Vanguard Records 

Type of Music: Soul/Pop 

Management: Eric Baker, ebaker@newbreedmm.com; Doug Shaw, 

dshaw@wilspro.com 

Booking: Lynn Cingari, lcingari@paradigmagency.com 

Legal: J. Reid Hunter / Serling Rooks & Ferrra, LLP, reid@srfllp.com 

Publicity: Lucy Sabini / Vanguard Records, lsabini@vanguardrecords.com 

Web: http://marcbroussard.com 

A&R: Kevin Welk 

When a label makes a good impression on an artist, it can pay 

large future dividends. Louisiana-based singer-songwriter Marc 

Broussard witnessed that firsthand after working with Vanguard 

Records briefly before being snapped up by Atlantic Records. “Years ago, 

between my Island Def Jam contract and my deal with Atlantic, I signed a 

one-off deal with Vanguard for my record S.O.S.: Save Our Soul,” the artist 

explains. “I found that experience to be highly enjoyable. Unfortunately for 

Vanguard, Atlantic stepped in and made me an offer I couldn’t refuse. I was 

a little too young and näive to understand the implications of what I was 

embarking on.” 

“It was a natural fit for 

me to re-approach 

[Vanguard Records].” 

When Broussard’s deal with Atlantic came to an end, he decided to 

lookup Vanguard and see if they’d like to work together once more. “It was 

a natural fit for me to re-approach those guys,” he recalls. “I knew that it had 

been a great relationship during S.O.S. and they seemed eager to work with 

me again.” 

Once he was released from Atlantic earlier in the year, Broussard and 

his team reached out to Vanguard, a New Jersey-based label. A deal was 

reached in the fall. 

One of the significant differences that Broussard notes about his experience 

with Vanguard is that he feels more supported than with past labels. 

“Recently I played three shows in the L.A. area,” the singer says. “Over the 

course of those shows, the entire Vanguard West Coast staff was able to 

see me perform. That’s not something you can say about every label. It’s a 

much more focused staff. They don’t have 40 releases in a given quarter. 

We’ll be able to maximize the effort of a smaller group of people because it’s 

such a focused operation.” 

A Life Worth Living (ALWL) is planned for release sometime in the spring. 

It will be preceded by an EP that includes a number of Louisiana-centric 

songs. A tour is being planned for when ALWL drops. 

——Rob Putnam 

Angie Johnson 

Date Signed: 2012 

Label: Sony Nashville 

Type of Music: Country 

Management: Craig Campbell 

Booking: CAA Nashville 

Legal: Michael Johnson / Katy Griffin Emkema & Colbert 

Publicity: B. Craig Campbell / Campbell Entertainment Group / craig@ 

campbellentertainmentgroup.com 

Web: http://officiealangiejohnson.com 

A&R: Lisa Ramsey 

Before following her dreams to be a country singer, Angie Johnson 

enlisted in the US Air Force, to follow another dream. After serving in 

the Middle East, she resumed her action of a different kind. She used 

her GI bill to promote herself as a singer and started a Kickstarter campaign 

to raise money to fund a professionally produced demo. “I raised $30,000 in 

30 days,” says Johnson. “The next thing I knew, I had a call to meet with the 

president of Sony Nashville!” 

It wasn’t quite that instantaneous. A guitarist she knew from the scene had 

mentioned Johnson’s name to Sony Nashville A&R executive, Lisa Ramsey, 

who highly recommended the artist based on her online performances. In 

a novel move, the label offered to match her Kickstarter funds to enable 

Johnson to record and master an EP, which is now slated for a January 

release. 

“I raised $30,000 in 30 days. 

The next thing I knew, I 

had a call to meet with the 

president of Sony Nashville!” 

Her deal with the label includes other options, depending on the 

performance of that release. 

With success on Kickstarter, why go with a label? “The support of a major 

label means that you can get your music out to so many more people. It 

creates a much bigger impact to grow an audience,” Johnson says. 

Media exposure is no stranger to Johnson. Before signing with Sony 

Nashville, she appeared on CNN’s Headline News (HLN) network. She 

also was a contestant on The Voice. “I learned how much it takes to put 

on a television production. It didn’t expand my artistry, but it was a great 

experience,” she says of major TV network exposure. 

While in the Air Force, Johnson had the opportunity to perform at several 

bases, which also expanded her repertoire. “We have to be diverse at those 

performances, and be able to perform anything, from Rihanna to Journey, 

and to play with different people. It’s a great way to gain experience.” 

Johnson has also performed at several NFL games. “My military experience 

is a big draw." 

——Brett Bush 


SIGNING STORIES 

Joshua Black Wilkins 

The Howling Brothers 

Date Signed: February 2012 

Label: Readymade Records 

Type of Music: American Roots 

Band Members: Ian Craft, banjo, mandolin, fiddle, vocals; Ben Plasse, upright 

bass, banjo, vocals; Jared Green, guitar, harmonica, vocals. 

Management: John Porter, john@moodindigoentertainment.com 

Booking: NA 

Legal: Eric Griffin, griffinlawla@aol.com 

Publicity: Cary Baker / Conqueroo, cary@conqueroo.com 

Web: http://howlingbrothers.com 

A&R: Brendan Benson 

The Howling Brothers’ Ian Craft calls Readymade Records “a label to 

be reckoned with.” 

It’s a fair statement considering Readymade, like most musical projects 

out of Nashville, TN, is well connected. Founded by Brendan Benson 

of the Raconteurs, the label is home to a select group of Benson’s interests, 

most recently Music City-based blues/folk trio, the Howling Brothers. 

Prior to signing a three-year deal with the label, the Howling Brothers’ 

multi-instrumentalists Ian Craft and Jared Green were collaborating on an 

album with Readymade artist Corey Chisel and befriended Benson through 

him. Benson wanted to produce a Howling Brothers record, and from there, 

“it kind of fell into place,” according to Craft. 

The album Craft refers to is Howl, the band’s first release through Readymade, 

set to drop March 5, 2013. Though the Howling Brothers have been 

a band for nearly a decade, the prospect of having outsiders’ input on their 

musical decisions was virgin territory. 

“To bring in outside folks is 

definitely scary, but a huge 

improvement to how we do 

things in the band.” 

“To bring in outside folks is definitely scary,” Craft admits, “but definitely 

worthwhile and a huge improvement to how we do things in the band.” 

For one thing, the Howling Brothers will be touring overseas next year in 

support of the new album—and if the band doesn’t make money, the label 

doesn’t either. 

“The big thing here is instead of paying upfront, everyone works on 

commission, so there’s more incentive for everyone to work harder,” Craft 

reasons. “Everyone makes money at the end of it, which is pretty cool. Just 

based on what I’ve read, people have their doubts about that kind of deal, 

but I think it’s a pretty awesome route.” 

All-encompassing control doesn’t seem to be the aim of Readymade 

Records, which is why much of the Howling Brothers’ routine, like playing 

their long-term weekly Nashville gig at Layla’s Bluegrass Inn, has stayed 

the same. 

“We’re very particular. If it didn’t feel right and we weren’t getting a caring 

feeling from the label, we wouldn’t have signed the contract,” Craft states. 

“Trust your judgment. If it seems shady, it’s definitely shady. If it feels good, 

go with it.” 

——Jessica Pace 

Old Time Machine 

Date Signed: Jan. 26, 2012 

Label: File Under: Music 

Type of Music: Alternative-Country, Indie Folk Rock 

Band Members: Ryan McNally, lead vocals, guitar, mandolin, ukulele, banjo, 

percussion; Kyle Cashen, drum machine, percussion, bass pedals, electronic 

effects, backup vocals. 

Management: Self-managed 

Booking: Self-booked 

Legal: Kurt Dahl / Bob D’Eith’s Firm, kurt@bcmusiclaw.com 

Publicity: Catie Monck, Tijuana Gift Shop, catie@tijuanagiftshop.net 

Web: http://facebook.com/oldtimemachine 

A&R: Lisa Stewart 

The concept “less is more” is one that has been embraced wholeheartedly 

by the group Old Time Machine. This Whitehorse, Yukon 

Territory, duo have created an album and sound that uniquely marries 

traditional acoustic sounds with vintage electronics and minimalist production. 

Both Ryan McNally and Kyle Cashen had been avid musicians in 

the Canadian northwest for several years, with McNally earning a living 

playing in blues and roots-oriented bands and Cashen exploring rock and 

more experimental forms of art. Essentially, they were both on opposite 

sides of the artistic spectrum, but it was their tight knit arts community ties 

that brought them together. 

“We have a lot of flexibility with 

our label and they give us a lot of 

support and feedback.” 

“We knew each other from just being in Whitehorse,” McNally says. 

“Everybody just kinda knows everybody.” It was in 2009 and the two 

collaborated on an art exhibition in their town. “The exhibition took artists 

on both extremes and matched them up with someone who has no relation 

to what they do,” continues McNally. Their installation/performance was 

designed to get people out of their comfort zones and address the depression 

and darkness of the long cold winters that are indigenous to The Yukon. 

Flashback to 2008 where Cashen was showcasing with another band at 

the NXNE music conference in Toronto. “I met a guy who was booking for 

File Under: Music and we got along pretty well,” explains Cashen. “I bumped 

into him again at the Western Canadian Music Awards. He liked the band 

I was with, starting booking us and I got a publishing deal with them too.” 

Cashen eventually moved to Vancouver and invited McNally to come 

record with producer-engineer Jordy Walker. Those sessions became the 

basis for Old Time Machine’s first EP. When Cashen submitted some of 

the songs from those sessions to File Under: Music rep Lisa Stewart, the 

label was very receptive and agreed to release a joint disc with Old Time 

Machine and label mates Old Cabin. It was a fairly profitable venture that led 

to OTM’s current singular debut. 

“For me it happened all of a sudden and pretty quick. But Kyle had been 

scheming all this for a while,” quips McNally. “I prefer when things just happen,” 

replies Cashen. “I like to pull on a thread and see where it goes. And 

that’s how this felt. We have a lot of flexibility with our label and they give us 

a lot of support and feedback.” 

——Eric A. Harabadian 


SONG BIZ 

KING IS QUEEN FOR A DAY 

ASCAP’S FRENCH KISS 

Song Biz was on hand at the Hollywood Walk of Fame as legendary songwriter 

Carole King was honored with a star on Hollywood Boulevard. Pictured (l-r): 

Songwriter Carole Bayer Sager and King. 

The Périgord Vert region of Dordogne, France was the site for an ASCAP Songwriters 

Retreat at the medieval Château Marouatte as topliners, producers and 

artists from both sides of the Atlantic enjoyed a week of both intensive writing 

and relaxation. Pictured (l-r): Chris DeStefano, Jayson Dezuzio, Mike Posner, 

Hillary Lindsey, Fran Hall, Jodi Marr, Needlz, Tom Higgenson, Claudia Brant, 

Julian Emery, Kerli, Brett James, Priscilla Renea, Theron “Neff-U” Feemster, 

Stefano, Jenna Andrews, Justin Parker and Nick Hodgson. 

DioGuardi’s Berklee Course 

Kara DioGuardi, accomplished songwriter, 

producer, record and publishing executive, television 

personality and MC cover girl, is currently 

teaching a class at Berklee College of Music this 

semester, bringing her incomparable songwriting 

and production experience to campus. 

Developed specifically for Berklee, DioGuardi’s 

course, Hit Songwriting, pairs student songwriters 

and producers to mirror today’s music industry 

practices. DioGuardi has 27 students in the class, 

whom she handpicked to take the course. 

DioGuardi is one of the world’s most successful 

contemporary songwriters; her work has appeared 

on more than 160 million albums. She has 

authored over 50 charting singles with artists such 

as Katy Perry, P!nk, Christina Aguilera, Kelly 

Clarkson, Carrie Underwood, Gwen Stefani, 

Colbie Caillat, Rascal Flatts and Celine Dion, 

in addition to judging seasons eight and nine of 

the hit FOX show American Idol. 

Hit Songwriting students will work to gain insight 

into the career paths of successful nonperformance 

Berklee graduates such as MC 

Song Biz Profile subject and Grammy-nominated 

songwriter Claude Kelly (whose hits include the 

Miley Cyrus anthem “Party in the U.S.A.,” the 

Bruno Mars smash “Grenade,” and Pitbull’s 

“International Love” featuring Chris Brown) and 

Song Biz subject and Grammy Award-winning 

songwriter/producer Makeba Riddick (whose 

most popular works include Rihanna’s “Rude 

Boy,” Beyoncé’s “Déjà Vu” featuring Jay-Z, 

and Eminem’s “Love the Way you Lie” featuring 

Rihanna). 

Get more details at http://berklee.edu/events/ 

hitmaking-kara-dioguardi. 

Songwriters Oppose 

Internet Act 

ASCAP, BMI, SESAC and the NSAI are 

calling on Congress to address the concerns of 

songwriters and composers, whom the groups 

say are being disadvantaged by a misaligned 

regulatory structure, resulting in artificially low 

payments to America’s music creators. In a joint 

letter to Committee Chairman Bob Goodlatte 

and Ranking Member Mel Watt, the groups 

laid out their reasons for opposing the “Internet 

Radio Fairness Act of 2012,” H.R. 6480 (“IRFA”), 

commonly known as the Pandora bill, while 

noting that any effort to reform music licensing 

should address a greater problem: the current 

disjointed rate setting systems governing digital 

services. This results in an undervaluation of the 

public performing right in musical works, harming 

songwriters, composers and music publishers. 

The letter points to the gross inequities that 

have developed in the music licensing landscape 

as a result of opposing rate setting systems 

applied to the amounts paid to songwriters, 

composers and publishers versus those paid to 

record labels and recording artists. 

To illustrate this point, the letter notes: 

“Pandora’s 2012 annual report stated that it 

paid 49.7 percent of its revenue in royalties to 

SoundExchange, and 4.1 percent of its revenue 

in royalties to the US PROs, namely, ASCAP, 

SESAC and BMI. In other words, from the total 

pool of monies paid for the performance of music 

and sound recordings, almost 92 percent of the 

money paid by Internet radio flows to record labels 

and performing artists through SoundExchange, 

and only 8 percent of it is paid to songwriters and 

publishers…” 

Visit http://ascap.com for complete details. 

Celebrating Women in The 

Song World 

Billboard’s annual “Women in Music” list includes 

a number of luminaries from the music 

publishing world. Included in the influential roster 

are Jody Gerson, Co-president, Sony/ATV 

Music Publishing; Linda Newman, Executive 

VP/head of acquisitions and strategic projects at 

WILCO RE-UPS WITH BMG CHRYSALIS 

BMG Chrysalis North 

America has renewed 

its exclusive worldwide 

administration deal with 

Jeff Tweedy, founding 

member and leader of 

American rock band Wilco 

and co-founder of the 

alt-country band Uncle 

Tupelo. BMG Chrysalis US 

already represents Tweedy 

and other Wilco members. 

With this new agreement, 

Tweedy brings the rest 

of his works to BMG who 

will now represent the 

complete Wilco catalog. 

Pictured (l-r): David 

Hirshland, EVP of Client 

Services & Creative at BMG 

Chrysalis and Jeff Tweedy. 

BMI’S URBAN WONDERLAND 

BMI’s Los Angeles-based Urban department held a holiday mixer at the West 

Restaurant inside the Hotel Angeleno in Beverly Hills. Guests donated used 

coats, hats, gloves, blankets, etc. to The Harvest Community Center. Pictured 

(l-r): Katie Welle, Sony/ATV; Sam Taylor, EMI; and Nicole Plantin, BMI. 


SONG BIZ 

—DAN KIMPEL dan@dankimpel.com 

PEIRCE INKS TO DISNEY 

Universal Music; and Ethiopia Habtemariam, 

Executive VP/head of urban music, Universal 

Music Publishing Group. 

Also cited in the pages of Billboard are three 

key players in Performing Rights: Lauren Iossa, 

Senior VP of Communications and Media, 

ASCAP; Alison Smith, Senior VP, Performing 

Rights, BMI; and Ellen Bligh Truly, VP of 

Corporate Relations, SESAC. 

Katy Perry was named the Billboard Woman 

of the Year, and Carly Rae Jepsen was honored 

as the Billboard Rising Star. 

Diane Warren: Broadway 

Bound? 

The music of Grammy and Golden Globe 

winning songwriter Diane Warren will provide 

the bones for a new musical being developed for 

Broadway. Producer Dede Harris has optioned 

Warren’s music catalog from the composer’s selfowned 

publishing company. A creative team and 

timeline for the untitled project will be announced 

at a later date. 

Warren is the first songwriter in Billboard history 

to have seven hits by different artists charting at 

the same time. Her songs have been recorded 

by Elton John, Beyonce, Whitney Houston, 

Christina Aguilera, Cher, Carrie Underwood 

Disney Music Publishing, 

Nashville has signed 

Melissa Peirce to its 

growing writer roster in a 

partnership deal between 

Disney Music Publishing 

and Pat Higdon’s Patrick 

Joseph Music. Peirce, 

wrote two Top 10 singles: 

David Nail’s “Red Light” 

and Reba’s “I’m Gonna 

Take That Mountain,” 

and co-penned Eli Young 

Band’s “Say Goodnight.” 

Pictured (l-r, standing): 

Pat Higdon, Patrick 

Joseph Music; Kos 

Weaver, Disney Music 

Publishing; Austen Adams, 

Crownover Blevins, PC. 

Seated: Melissa Peirce. 

SESAC IS LOVIN’ OTTO 

and Jennifer Hudson, among many others. She 

has been nominated six times in the best original 

song category of the Academy Awards. 

To obtain additional details go to http://real 

songs.com. 

Kobalt: Neighboring 

Rights Powerhouse 

Bob Dylan, Dr. Luke, Gotye, Max Martin, 

Paul Simon, Ryan Tedder and Shellback (aka 

Johan Schuster) are among the global superstar 

roster of talent who have recently concluded deals 

and chosen Kobalt to manage their neighboring 

rights. 

The company has unveiled the next generation 

in technology and services for Kobalt neighboring 

rights clients who can now view online all account 

details showing exactly where their income is 

coming from, and from which territory. 

KNRL is the first company to offer this level 

of transparency and detailed accounting with 

monthly statements for neighbouring rights. 

Accounts are continually updated and viewable 

24/7. 

For complete information on this and other 

Kobalt activities, contact Rebekah Alperin, SVP 

Communications/Marketing, by emailing rebekah. 

alperin@kobaltmusic.com. 

SESAC has welcomed artist-songwriter James Otto for representation. Otto, 

who topped the charts with “Just Got Started Lovin’ You,” is currently in 

the studio working on his next album, but took a minute to stop by SESAC’s 

Nashville headquarters to visit. Pictured (l-r): SESAC’s Shannan Hatch, Otto 

and SESAC’s Tim Finnk. 

Elton and Bernie Prevail 

Pryor Cashman has won dismissal of all 

claims brought against Sir Elton John and his 

longtime songwriting partner Bernie Taupin in 

a music copyright infringement case. The federal 

court in Chicago dismissed a claim brought by 

Guy Hobbs. A photojournalist and aspiring 

songwriter, Hobbs claimed that the lyrics of John’s 

1985 hit “Nikita” infringed Hobbs’ lyrics entitled 

“Natasha,” which he claimed to have circulated 

among publishers in 1984. Hobbs’ lyrics, never 

put to music, were inspired by his doomed cruise 

ship romance with a Russian waitress. 

Judge Amy St. Eve rejected Hobbs’ claim and 

granted John’s and Taupin’s motion to dismiss 

his complaint, finding that each of the elements 

which Hobbs alleged had been copied were 

“rudimentary, commonplace and standard,” making 

them unprotectable under copyright law. 

John, Taupin, and publisher Big Pig Music 

were represented by Tom J. Ferber, Ilene S. 

Farkas and Stephanie Kline of Pryor Cashman 

LLP. 

MICRO-BIO: Dan Kimpel’s new-est book, 

It All Begins with the Music, is penned with 

legendary A&R exec Don Grierson. Hear Dan’s 

audio interviews worldwide on Delta Airlines. 

EBACH HEARS THE WORD 

Word Music Publishing has announced the signing of SESAC-affiliated Justin 

Ebach for representation. Pictured (l-r): Chad Green, Word Music Publishing; 

John Mullins, SESAC; Justin Ebach; Tim Fink, SESAC; and Chad Segura, Word 

Music Publishing. 

JOHNSON SIGNS WITH SONY MUSIC NASHVILLE 

Angie Johnson has signed a 

recording contract with Sony 

Music Nashville. The YouTube 

sensation was discovered after 

a video of her performing for 

troops in Afghanistan went 

viral. The St. Louis native 

spent six years in the Air 

Force. Honorably discharged, 

she moved to Nashville to 

pursue her dreams of becoming 

a country artist. Josh Leo (Love 

and Theft) has signed on as her 

producer. Pictured (l-r): Gary 

Overton, Chairman and CEO, 

Sony Music Nashville; Johnson; 

and Lisa Ramsey Perkins, Sr. 

Director A&R, Sony Music 

Nashville. See p. 27 for MC's 

Signing Story on this artist. 


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SONG BIZ 

Songwriter Profile 

D u s t i n W e l c h 

Verses from Tijuana Bible 

By Dan Kimpel 

In the hands of Dustin Welch a banjo possesses the ferocious firepower to 

confront abrasive electric guitars and hard-hitting staccato snares. “It can 

do a lot more that the three-finger bluegrass type stuff,” says Welch. “It can 

have a pretty evil sound if you want it to.” 

On his new CD, Tijuana Bible, Welch, (who also plays acoustic and gut 

string guitar on the tracks), was joined in a home studio in Austin, TX, by a 

tight coterie of sympathetic players who injected acoustic authenticity and 

razor-edged electricity in only three days of live sessions with minimal overdubs. 

Welch’s sound absorbs elements of his recent past, when he was a banjoist 

and resonator slide guitarist with a Celtic punk rock band the Scotch 

Greens. “That whole punk rock world I was playing in was so interesting to 

me,” he says. “I had never listened to that kind of stuff, and sight unseen, the 

band hired me to come out and play with them.” 

With his solo debut, Whiskey Priest, Welch threw down his gauntlet of 

searing song craft and wild-eyed fervor. On his second CD, he solidifies his 

role as a facile storyteller with a profound gift for inhabiting characters: the 

preposterous braggart in “Jolly Johnny Junker” and his grizzled kinsman 

in “Lost at Sea” who rants “Somewhere 

God is in a casket/The dogs 

are all circling around.” 

A voracious reader, Welch draws 

from a far-flung repository of literary 

inspirations. The intimate “St. Lucy’s 

Eyes” for example, references 

the sacred mysticism of a Christian 

martyr from the third century who is 

often depicted holding her eyes on 

a platter. “They tried to to kill her 

by drowning, stoning and burning 

her. Finally they gouged her eyes 

out and she lost her power,” he explains. 

“Party Girl” is illuminated in flickering, 

impressionistic freeze frames 

that make it a natural for film and 

television usages, something Welch 

––who has friends in the film community––is 

quite interested in. “I 

intentionally tried to write that differently,” 

he says. “It is primarily 

imagery, so it works with the visual 

element. With some songs you’re 

telling a story or talking about internal 

conflicts. ‘Party Girl’ is pictures.” 

Welch grew up around consummate songwriters. His father Kevin is revered 

in what would eventually evolve as the Americana genre. In the mid- 

‘90s, set adrift from their major label deals, he and a group of singer-songwriters 

founded an independent label, Dead Reckoning Records. Dustin, 

also an indie artist, continues this tradition with Super Rooster Records. 

Dustin Welch was raised in Nashville, TN. “The cool thing about being 

able to grow up around people who were stars was that I’d get to know them 

on the personal side first. They were family friends. 

“As I got older” he continues, “I appreciated what they did, but it took a 

while to realize how special that was. Getting to know them more on a personal 

level has allowed me to understand that being a big star is not what 

makes you a good musician or songwriter. I could see the work ethic. In 

Nashville, it’s nine-to-five business in a lot of ways.” 

For the past year and a half, Welch has volunteered for the Texas chapter 

of the Soldier Songs & Voices program, a national organization he helped 

found. Giving voice through music to returning veterans from the wars in Afghanistan 

and Iraq is the mission. “When they work on songs, that is all they 

are thinking about,” he says. “It gives them another outlet.” 

He says the experience is rewarding and humbling. “No matter how many 

songs you’re writing about hope and inspiration, you’re still getting up in front 

of an audience every night saying,’ Hey people pay attention to me.’ I know 

how to write songs and I wanted to see if that could help these veterans.” 

It was imperative for Welch to commit Tijuana Bible to audio, both as a 

reason for touring and to chronicle of the experiences and emotions that 

enrich his songs. “It’s an actual recording of a period of my life,” he confirms. 

“That’s why Thomas Edison called it ‘a record.’” 

Contact Brian O'Neal or Cary Baker at Conqueroo, 

http://conqueroo.com 


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FILM•TV•THEATER 

Quentin Tarantino 

PROPS 

The Weinstein Company, Quentin Tarantino 

and Loma Vista Recordings are handling 

the release of Quentin Tarantino’s Django Unchained 

Original Motion Picture Soundtrack. 

This release marks the first time that Oscar-winning 

and Grammy-nominated director Tarantino 

has collaborated with artists to create original music 

for use in the film and original motion picture 

soundtrack. Among the featured tunes are Rick 

Ross’ “100 Black Coffins” produced by and featuring 

Jamie Foxx, John Legend’s soulful offering 

“Who Did That To You?,” “Ancora Qui” by Honorary 

Academy Award winner Ennio Morricone 

and Elisa, and Anthony Hamilton and Elayna 

Boynton’s poignant duet “Freedom.” For further 

information, contact Sam Citron at BB Gun PR, 

323-904-9094 or sam@bbgunpr.com. 

Feature film composer Michael Mollura recently 

won a Hollywood Music in Media Award 

for his work on The Highest Pass. Mollura was 

nominated for Best Indie Score and won the 

award for Best Song for an Indie. The music was 

composed by Mollura with lyrics and vocal performance 

by super group legend Jon Anderson. 

The music for The Highest Pass and other Mollura 

scores can be found on iTunes and the film 

can be streamed at the website http://thehighest 

pass.com. Mollura is currently scoring two films. 

For more information, visit http://michaelmollura 

music.com. 

The score to Beasts of the Southern Wild, 

which was just nominated for four Independent 

Spirit Awards, is the initial offering on vinyl by 

new L.A.-based music-for-film, vinyl-only label 

Thirty3 and a Third. Dan Romer, one of two artists 

who give Beasts its bite, is a New York born 

and raised music producer, writer, mixer and film 

composer based out of his studio in Park Slope, 

Brooklyn. Born in New York City, Benh Zeitlin 

began his career as a filmmaker at the tender age 

of six when he and a friend made a Batman movie. 

He continued making films as a child before 

attending Wesleyan University, where he majored 

in film. For additional details, contact Jen Appel 

at Press Here, 212-246-2640 or jen@presshere 

publicity.com. 

Square Enix and Crystal Dynamics have 

named Jason Graves, an award winning composer 

with an outstanding pedigree across film, 

television and gaming, to pen the original score 

for the relaunch of gaming’s popular Tomb Raider 

franchise. View the episode at http://youtu.be/ 

zadNXgwqNnI. For further details, contact Greg 

O’Connor-Read, 702-407-0935 or greg@topdol 

larpr.com. 

Theatrical licensor Music Theatre International 

(MTI) (http://mtishows.com), Universal 

Pictures Stage Productions, and Beacon 

Communications have announced that Bring It 

On: The Musical (http://bringitonmusical.com) is 

the newest Broadway production to join MTI’s 

global theatrical licensing catalog. Bring It On: 

The Musical is inspired by the hit film Bring It 

On, and features an original story by Tony Award 

winner Jeff Whitty (Avenue Q), music and lyrics 

by Tony Award winning composer Lin-Manuel 

Miranda (In the Heights), music by Pulitzer and 

Tony winning composer Tom Kitt (Next to Normal), 

lyrics by Broadway lyricist Amanda Green 

(High Fidelity) and music supervision by Tony 

and Grammy winner Alex Lacamoire. The production 

is directed and choreographed by Tony 

winner Andy Blankenbuehler (In the Heights). 

For further information, contact David Beckwith at 

david@thebeckwithcompany.com. 

DROPS 

Not Fade Away, the feature film debut from 

The Sopranos creator David Chase, is an ode 

to the transformative power of rock & roll. In 1964, 

the Rolling Stones appear on television and 

three best friends from the suburbs of New Jersey 

decide to form a rock band. The film stars John 

Magaro, Bella Heathcote, Brad Garrett and 

James Gandolfini. The film’s soundtrack, supervised 

by Little Steven Van Zandt and featuring 

original recordings by the Stones, the Beatles, 

the Left Banke, James Brown, the Rascals, 

Van Morrison and more, chronicles the sounds 

that inspired a generation to pursue dreams of 

rock stardom and glory. The soundtrack, set for 

digital release on Dec. 18, will be available at 

iTunes and all other digital download stores. Not 

Fade Away, a Paramount Vantage film, opens in 

select theaters on Dec. 21, 2012. 

Michael Mollura 

Artist Suze Lanier-Bramlett has just released 

“Watch What You Ask For,” a clever new single 

and video. This bluesy, uptempo, horn-driven tune 

is a cautionary (albeit humorous, tongue-in-cheek) 

look at the perils of Internet dating that also stars 

horror-cult star actors Michael Berryman (The 

Hills Have Eyes, The Crow) and sultry Brooke 

Lewis (Alien Dawn). Watch the video yourself at 

http://tinyurl.com/btqcs5k. For complete information, 

contact Doug Deutsch, doug deutschpr@ 

gmail.com. 

Directed by Academy Award-winner Fred 

Wolf, The Point tells the story of Oblio, a roundheaded 

boy living in the land of Point, where everything 

and everybody has one. Oblio, along with 

his trusty dog, Arrow, is banished to the Pointless 

Forest. The tale is narrated by Ringo Starr and includes 

songs written and sung by Grammy Awardwinner 

Harry Nilsson. MVD has just released the 

definitive collector’s DVD edition of this timeless 

classic with over 25 minutes of bonus features. 

Order at http://seeofsound.com. For more information, 

contact Clint Weiler at MVD Ent. Group 800- 

888-0486 ext. 115 or email clint@mvdb2b.com. 

Lakeshore Records has digitally released 

Any Day Now - Original Soundtrack featuring 

the original track “Metaphorical Blanket” written 

by Rufus Wainwright for the film, three tracks 

performed by the film’s star Alan Cumming, a 

selection of ‘70s classics (including “Don’t Leave 

Me This Way,” “Come To Me,” and “Miracles”), 

and original score by Joey Newman (TV’s The 

Middle and Little People, Big World). “I tried to 

incorporate all three relationships into the piece,” 

Wainwright says. “There’s always a sense of the 

Dom Greco 


FILM•TV•THEATER 

impossible looming, nestled in the mundane.” For 

additional information, contact cinemediapromo@ 

yahoo.com or @cinemediapromo on Twitter. 

Inuit throat singer and sonic innovator Tanya 

Tagaq returns to Lincoln Center to perform her 

original score to the 1922 silent movie documentary 

classic, Nanook of the North, on Jan. 10, 

7:30 p.m. in a free double-bill with the Relatives. 

Born and raised in Canada’s high arctic, Tagaq 

began experimenting with Inuit throat singing 

as a teenager and her first professional concert 

caught the attention of Bjork, leading to participation 

on the Icelandic artist’s 2004 CD, Medulla. 

Tagaq contributed to the soundtrack for Diaries 

of Knut Rasmussen and acted as musician/narrator 

for the award-winning National Film Board 

Tanya Tagaq 

documentary, This Land. Seating at the David 

Rubenstein Atrium at Lincoln Center is limited 

and available on a first-come, first-served basis. 

For more information, visit http://lincolncenter.org/ 

atrium. 

The 2013 Sundance Film Festival has announced 

the selection of the new documentary 

History of the Eagles Part 1 for its Documentary 

Premieres section at the renowned annual movie 

industry celebration in Park City, UT. Providing 

an intimate look into the history of the group and 

the legacy of their music, the Eagles partnered 

with Oscar-winning filmmaker Alex Gibney (Taxi 

to the Dark Side, Enron: The Smartest Guys in 

the Room) to produce a fully authorized, featurelength 

documentary. The film will debut on Jan. 

19 at 9:45 p.m. in the Eccles Theater. 

In further Sundance news, Dave Grohl of Foo 

Fighters and Nirvana announced that his directorial 

debut, the feature documentary film, SOUND 

CITY, about the infamous recording studio in Van 

Nuys, CA, will have its premiere screening at the 

festival. Grohl and select artists from the film will 

be in attendance. More information can be found 

at http://soundcitymovie.com. 

OPPS 

Open call to LGBT performing artists, music 

creators and industry of music genres to “Come 

Out” and visit Nashville’s Music Row from Feb. 

1-3, 2013 for the LGBT Music Festival. Performers 

and songwriters will take the stage from 

noon-midnight Friday-Sunday at multiple entertainment 

venues such as the Music Row Best 

Western Lounge. Music creators can introduce 

their songs by performing scheduled or at “open 

mic” indoor stage locations in the vicinity. The 

festival will also host “Speak To A Pro” with one 

on one mentoring sessions to answer questions 

about “Music as a Business.” Attendees can receive 

hands-on advice on topics such as Career 

Critique, Products Critique, Recording, Publishing, 

Plugging, Radio, Video, Broadcasting and more. 

To register, or to find more information, visit http:// 

lgbtmusicfest.org, send an email to info@lbgtmu 

sicfest.org or call 615-424-1491. 

The IC Virtual Music Conference and Expo, 

founded by Vinny Ribas, has been moved forward 

to Feb. 26-28th. Indie Connect is bringing 

Independent artists and music professionals from 

around the globe together online for three days 

of live high-level networking, education and business 

development. The event features an artist 

expo where artists and record labels can showcase 

their act and their music to the industry (live 

and/or with video). There is also a global music 

industry trade show where music-related businesses 

can introduce their products or services 

to thousands of artists worldwide. For registration 

info, visit http://virtualmusicconference.com. 

There’s a new Facebook group for the Film/ 

TV and Interactive Scoring professionals in and 

around the Los Angeles area. Http://facebook. 

com/filmtelevisionandInteractivecommunity. 

The 2013 Longe Media Conference is currently 

inviting talented musicians to be part of 

the 2013 showcase for music, film and TV. The 

upcoming conference at the Diamond Starr Hyatt 

Regency in Greenwich/Stamford, CT, will be 

packed with industry-achievement stories, career 

tips and seminars offered by a sampling of 

entertainment’s most notable stars and insiders, 

including reps from Capitol Records, Island Def 

Jam and J Records. Visit http://longemusicians. 

eventbrite.com. 

Music video producers are looking for interesting 

and high-energy people to contribute a performance 

part to Elephant 12’s song “Renegade” 

(http://elephant12.com). Using either a camera 

or smartphone, preferably in HD, film yourself lip 

synching the lyrics to the song. Email simpson. 

m19@gmail.com for further details. 

MICRO-BIO: In a 20-year career that includes 

extensive experience as an artist, producer and 

performer, Tom Kidd has promoted, marketed 

and developed Emmy- and Oscar-winning 

composers. He is President of Pres Pak Public 

Relations. 

—TOM KIDD prespak1@verizon.net 

OutTAKE 

Daniel Baron 

Artist • Songwriter • Composer 

Email: c/o tim@tunedinpublicity.co.za 

Web: http://danielbaron.co.za 

Most Recent: Both Ends Burning 

In 2009 Daniel Baron was one of the Top 10 

finalists in Idols South Africa. That was an 

important first step, leading Baron to contribute 

songs and score to the upcoming American 

documentary about the plight of orphans worldwide, 

Both Ends Burning. 

“After the competition I finished school and 

decided that I needed to go on a trip of musical 

self discovery to the States,” Baron remembers. 

“I suppose it was a matter of being in the 

right place at the right time and I was scouted 

by the film producer, Craig Juntunen. He was 

in search of a song that would help spread the 

message.” 

In the span of five days Baron wrote a song 

to the film title, “Wrongfully Detained,” which 

Juntunen chose as the main theme song and 

asked Baron for more. The crew then flew Baron 

to Ethiopia to shoot a music video. 

Even after the film changed title to Both Ends 

Burning, Baron was kept on board. “I kept in 

mind the powerful visuals and memories that I 

had of Ethiopia,” Baron says. “A large part of the 

songs are very cinematic and orchestral driven. 

It was the producer’s idea to add my music to 

the score, which was a great honor.” 

While he’d like to create more film scores, 

both Baron and the Both Ends Burning organization 

need to get this one to the screen 

first. It has been seen at film festivals here in 

the US. Baron is helping to push the upcoming 

film in his own way, including the music and 

video for “Wrongfully Detained” on his debut 

CD as well as another one of the soundtrack 

songs, Both Ends Burning. 


MIXED SIGNING NOTES STORIES 

MADONNA WORLD TOUR 2012: Stadiums, arenas and 

open air venues across Asia, Europe, North and South 

America are hosting Madonna’s 2012 MDNA Tour. Much 

of the tour’s hardware setup is provided by Sennheiser, 

including a wireless microphone and monitoring system 

and six Sennheiser SKM 5200 microphones. 

Cat Veit 

Kevin Mazur 

SOUNDGARDEN SHOWCASE NEW RECORD AT FONDA: After a 15-year 

hiatus, Soundgarden have returned with King Animal and an intimate 

two-and-a-half hour set for their legion of fans. At Hollywood's Henry 

Fonda Theatre the band played a good mix of really old and really new, 

packing in enough heavy crunch and drone, with help from Cornell’s 

boundless vocal range, to remind the world that they are back and 

perhaps even stronger than in their heyday. For tour dates, visit http:// 

soundgardenworld.com. 

SHEEHAN SIGHTING IN BURBANK: Yamaha Artist Services Burbank 

(YASB) hosted iconic bass player Billy Sheehan and over 40 

admirers during Billy Sheehan Attitude Bass Day. Fans from across 

the US to Korea and Japan attended the free, daylong event, which 

featured performances, a Q&A session, socializing and a BBQ buffet. 

He spent the day answering questions and telling stories from 

his days with David Lee Roth and Mr. Big. A Yamaha artist for over 

25 years, Sheehan also shared many technical playing tips. Get 

more details at http://4wrd.it/YAMAHAUSA. 

DUNN VISITS 2012’S SOUL TRAIN AWARDS: Antoine Dunn recently 

attended the Soul Train Awards held at Planet Hollywood in Las Vegas, 

NV. Dunn, who recently released his debut album Truth of the Matter 

(Elite Music Group Inc.), was among many celebrities who came out to 

pay homage some of the musical elite, as well as, remembering and 

honoring the late Soul Train creator Don Cornelius. Pictured (l-r) at 

the Hip Hop Sisters Lounge: Dunn, singer Fantasia as well as Syleena 

Johnson and Nicci Gilbert-Daniels of R&B Divas. 

Chris Mitch, courtesy of Elite Music Group Inc./JL Media Relations 


MIXED SIGNING NOTES STORIES 

—ANDY MESECHER andym@musicconnection.com 

1977– 2013 

36 

Celebrating 

Tidbits From Our 

Tattered Past 

Years 

David Klein 

Daniel Siwek 

RUSH AT HONDA CENTER / ROCKWALK: Power trio? With Geddy Lee, Alex Lifeson 

and Neil Peart, Rush are more like a superpower trio that pulled into the Los Angeles 

area for two barnstorming appearances. At the Honda Center, the band (recent R&R 

Hall of Fame inductees) covered cuts from classics 2112, Permanent Waves, Moving 

Pictures and Signals, as well as deeper cuts from Power Windows while currently 

promoting their latest, Clockwork Angels. They also stopped by Hollywood’s Rock 

Walk to cement their hand prints. Visit http://rockwalk.com for more. 

PHARRELL RELEASES BIOGRAPHY: Straight 

from the Victoria Secret Show at the Armory 

in New York, a number of VIPs beelined 

uptown in the blizzard to fete Pharrell 

Williams’ book debut, Places & Spaces 

I’ve Been (Rizzoli). Guests included Busta 

Rhymes, Alexa Chung, Poppy Delevinge, 

Derek Blasberg, Dani Stahl, Noah Tepperberg, 

Lorraine Schwartz, Afrojack, Melissa Wood 

and Mark McNairy. The book was written by 

Williams along with contributions from Jay-Z, 

Kayne West, Anna Wintour and Buzz Aldrin, 

among others. Pictured (l-r): 

Williams and Rhymes. 

1991—Susanna Hoffs—(Issue 4): 

Music Connection focused this 

issue on artist management, featuring 

ex-Bangle Susanna Hoffs 

and her management team Arnold 

Stiefel and Randy Phillips. 

Of Hoffs, Stiefel remarked, "It's a 

manager's dream to have a client 

who believes that no interview is 

too small and no industry function 

is too annoying, and it's genuine. 

She wants to inspire these people 

to sell her record." This issue of 

MC also has an interview with 

Roger McGuinn and concert reviews 

of shows by the Replacements, 

Paul Simon and Poison. 

MUSIC COMPANIES DONATE TO STUDENT CONCERT: Jan-Al Cases, C2 

Educate and All Play Music donated a guitar and custom case for a 

charity raffle that took place on Dec. 9 at an All Play Music student 

concert. All proceeds went to A Case For The Cure, a fundraising organization 

in the fight against breast cancer. Pictured (l-r): Tim Guille, 

Aiden Levine, Bryan Levine and Blake Levine. 

DARKNESS ROCKS UNTIL HOLLYWOOD DAWN: Before teaming up with 

Lady Gaga for a world tour, the Darkness stopped by Hollywood’s House 

of Blues to show L.A. County that musicianship does still exist in the 

modern rock era. The UK band is promoting its third studio album, Hot 

Cakes, on Wind-up Records. See http://theactualdarkness.com. 

Jim Donnelly 

1991—Nirvana—(Issue 24): 

At the time of this cover story 

interview, Nirvana's major label 

debut Nevermind was really taking 

off in the US, with the "Smells 

Like Teen Spirit" video all over 

MTV. On tour in Europe, however, 

the band wasn't so sure. 

"Our manager lies a lot," quipped 

Kurt Cobian, "so we suspect that 

this is just a big scam and we've 

probably only sold about 40,000 

records." Elsewhere in the issue 

are profiles of Jethro Tull juggernaut 

Ian Anderson and producer 

B.A. Anderson. A featurette explored 

the various "day jobs" held 

by average artists and musicians. 



Photo By Eric Ogden

By Gary Graff 

“It’s not necessarily about being the greatest players in the world, 

By Gary Graff 

but it’s what we do that no one can, I guess, duplicate.” 

More than a decade ago, in the 2001 

hit “Forever,” Kid Rock introduced us 

to punk rock/hip-hop/Southern rock 

musical manifesto. Add some blues, 

funk, soul and country to that, and you 

have the all-American mix that Rock 

(real name Bob Ritchie) has stirred into 

sales of 27 million albums worldwide 

with the occasional mainstream hit such as “Picture” 

(his duet with Sheryl Crow) and “All Summer Long,” 

Rock’s feel-good mash-up of Lynyrd Skynryd’s “Sweet 

Home Alabama” and Warren Zevon’s “Werewolves of 

London.” 

The approach is no less diverse on Rebel Soul, 

his recently released ninth album. Produced by Rock 

himself––following 2010’s Born Free with Rick Rubin–– 

Rebel Soul covers a lot of ground, from the Southern-fried 

opener “Chickens in the Pen” and the over-the-top pomp 

of “Mr. Rock n Roll” to heavy rockers such as the first 

single, “Let’s Ride,” the vintage soul-rock of “Celebrate” 

and a joyous, Motown-spirited shout-out to his home 

town in “Detroit, Michigan.” There’s also plenty of Dixie 

moxie in the title track, “Redneck Paradise,” the mournful 

“Cocaine and Gin” and “Happy New Year,” while 

“Cucci Galore” marks a return to Rock’s hip-hop, pimp 

of the nation roots. 

Rebel Soul came toward the end of an already 

eventful year for Rock, which included a charity 

collaboration with the Detroit Symphony Orchestra–– 

whose members sported Rock’s trademark fedora–– 

that raised $1 million, and an open and very public 

endorsement of Republican presidential candidate Mitt 

Romney. Rebel Soul also ends Rock’s long holdout 

against iTunes, bringing his music into the digital world 

where it, no doubt, will find favor from buyers in an 

array of genres. 

Music Connection: Nine albums in, what did you have in mind 

when you started making Rebel Soul? 

Kid Rock: I had an idea of what I wanted to do musically for the 

record. After coming off the Rick Rubin record, Born Free, which 

was a very poignant record where everything was pretty straight 

and narrow across the board for me, on Rebel Soul I kinda 

wanted to go back to making Kid Rock records the way I’ve done 

it for so many years. I wanted to make kind of a greatest hitsfeeling 

record with all new songs, basically everything I’ve kind 

of touched on in my career to this point. I was basically just doing 

whatever I want to do––not listening to anybody or anything. If 

I wanted to get crazy and write one of the old-school Kid Rock 

songs, fine. That’s the way I like to make records. 

MC: It certainly keeps the listeners on his toes from track to 

track. 

Kid Rock: It’s funny; I was saying to somebody, I was trying to 

explain the record, and I said, “It’s really confusing––so it’s a 

perfect Kid Rock record.” (laughs) 

MC: You do have this kind of creative fearlessness, though. 

Where does that come from? 

Kid Rock: Sometimes I struggle between trying to grow old 

gracefully but at the same time saying, “Fuck growing old!” I’m 

still gonna say what I want and be this person. You find yourself 

weaving in and out of all these different paths in life, but at the 

end of the day I’m just going to be who I’m gonna be. I think 

people understand that about me at this point. 

MC: You brought Rebel Soul back in-house after Born Free. 

What lessons did you learn making that album that you 

applied to this one? 

Kid Rock: Just how to really not take the feel out of a song by 

making it too perfect, by letting musicians get in there and play 

and not giving them too much direction. Rick was really strict on 

no direction, just have everybody get in there and play, do it a 

couple times, talk about it, go play it three or four more times, 

done. Now, I like to make some more parts than that. I look at 

the Eagles records where they have these great parts, whether 

it’s a keyboard riff or a guitar line. So I took a lot of that, which 

I’ve been trying to do for years, and put it with Rick’s sensibility 

for keeping it organic and letting the song breathe. I spent a little 

more time making parts and stuff, but I was careful not to change 

the feel or start doing too much shit on Pro Tools and taking 

all the feel out of it. I really think I found a happy medium with 

everything on this record. 

MC: A lot of this album was recorded at The Warehouse, your 

rehearsal facility. What impact did that have on the sound and 

feel of Rebel Soul? 

Kid Rock: It totally did. What happened was we were rehearsing 

for some shows and we had a bunch of songs written, and we 

were just learning them to see how they felt live and everybody 

was playing really good. At the same time I was rebuilding my 

(AllenRoadHouse) studio and we had everything dismantled 

and all the gear stored up at the Warehouse. So I said, “Let’s 

hook this shit up and take a crack at it. If we don’t use it we don’t 

use it, but we’re gonna learn something about all these songs 

as we play ‘em, so it’s worth doing. And lo and behold, about 80 

percent of them just came out and ended up being used for the 

bed tracks. 


MC: Having your Twisted Brown Trucker Band 

do most if it had to make a difference, too. 

Kid Rock: Definitely. The real difference between 

studio players and live players, I think, is a mind 

space. The studio cats can play everything because 

they’re that good. And your band, you 

play good together and do certain things, and 

this sound comes out, which is good. It’s not 

necessarily about being the greatest players in 

the world, but it’s what we do that no one can, I 

guess, duplicate. 

MC: Earlier you referred to Born Free as 

poignant. Is Rebel Soul a return to fun? 

Kid Rock: Yeah, it’s a fun record. There’s definitely 

some poignant songs on there, too, some 

stuff that would be more in line with Born Free, 

like “Rebel Soul” and “Midnight Ferry.” That’s 

there. But there’s the other stuff, the Kid Rock 

songs––even “Cocaine and Gin”––that’s a total 

country song, but no one in Nashville would 

record that song. “Chickens in the Pen” is totally 

Kid Rock shit; even though I’m not rapping in it, 

it’s still got the big beats and I’m doing my scream 

thing. I can just tell that a lot of this stuff is going to 

go over really well live. 

MC: Speaking of old-school Kid Rock, “Cucci 

Galore” sounds like it could have been on Devil 

Without A Cause or something from the ‘90s. 

Kid Rock: Yeah, early Kid Rock. That was around 

before Born Free, from, I think, right after (2007’s) 

Rock N Roll Jesus. I showed it to Rick for Born 

Free but he wasn’t interested, so I held onto it. 

It was real easy to do, and a lot of fun. We did 

the video for it and it reminded me of some of 

the old, crazy videos we used to do for “Cowboy” 

and “Bawitdaba” and stuff like that. I was looking 

around this crazy mansion in Bel Air and there’s 

all the ingredients for fun there––girls dancing, 

THE GRAMMY MUSEUM® AT L.A. LIVE PRESENTS 

people on stilts, breathing fire, there’s midgets 

everywhere, a pony walking around. I was like, 

“Yeah, this is fun!” 

MC: Rebel Soul is available on iTunes... 

Kid Rock: Yeah. Welcome to 2003, right? 

(laughs) 

MC: You were a long and notable iTunes holdout. 

What changed your mind? 

Kid Rock: I still feel the way I’ve always felt. If 

you make a good product, people will obtain it 

no matter what it is. But I don’t agree with iTunes 

when they say all music’s the same price. They’ve 

kind of switched away from that a little bit; there’s 

different prices on different albums now, but still 

the singles are all a buck, a buck-29 or whatever 

it is. And it seemed like this was a new way to 

present how to have some transparency in the 

music business with your record company and all 

that...but that didn’t happen. So I held out. Now 

I’ve got the deal I want with my record company, 

so hopefully this is the beginning of some transparency. 

Celebrating the Musical 

Legacy of Whitney Houston 

On display through February 24, 2013 

MC: Was part of the reservation also the fact 

that you’re an album artist and iTunes and 

other digital outlets, the whole concept really, 

champions the song over the album? 

Kid Rock: Nah. If I make a good album, people are 

gonna buy the album. That’s the end of the story 

with anybody. I remember when singles became 

big in the hip-hop era and then it went back to 

albums with CDs and now it’s back to singles with 

iTunes and it’s probably gonna go all streaming in 

a minute, so who knows. I’m not gonna fight the 

technology. I embrace it like everybody else, but 

at the same time I stood up for what I believed in 

and I proved my point. I said I wouldn’t hold out 

forever, and now it’s just the right time. Eventually 

the older stuff will be out there, too. 

On display through September 2013 

MC: You made your first real foray into politics 

this year, endorsing Mitt Romney’s presidential 

campaign. What was that like for you? 

Kid Rock: It was a great experience. I learned 

a lot about the whole poop show behind the 

political window. I always said I’d never sit there 

and preach politics, and I don’t believe I did. I 

might’ve slipped a few times here and there when 

someone caught me off guard, but it was never 

my intention. I leave that to the pros. I’m not going 

to be Bruce Springsteen and sit there and tell you 

what’s wrong with the country. My main thing in 

being there was to pick a side, because I believe 

you have to stand for something. I think it’s okay 

to disagree, and now that we’ve elected our 

president it’s time to move forward and give him 

a shot, and if you don’t agree in four years we’ll 

be able to do this process again. So many people 

have died to protect that, I think it’s important to be 

involved in some way. But it was pretty interesting 

overall. We had some fun doing it. 

800 West Olympic Blvd., Los Angeles, CA 90015 

Mon-Fri 11:30AM – 7:30PM, Sat-Sun 10AM – 7:30PM 

For more information, go to WWW.GRAMMYMUSEUM.ORG 

GRAMMY Museum ® and the Museum logo are registered trademarks of 

The Recording Academy ® and are used under license. 

7654_GM_GRAMMY Music Connection Ad_ 4.875x7.375_FNL.indd 1 


On display through November 2013 

11/13/12 5:22 PM 

MC: Is it too soon to be thinking about a next 

album yet? 

Kid Rock: Well, now that I’ve got the new studio 

and (engineers) there full time, we’ve got a lot 

of videos and live recordings and stuff I’d like to 

finally get to. And I’m planning to jump back into 

the studio in the next year and put another record 

out in the fall (of 2013). It’ll be my last record with 

Atlantic, and right now I’m thinking I might do a 

record like I’ve never done. 

MC: That would be saying something. 

Kid Rock: I know. (laughs) But what I’m thinking 

about is going out and getting some song submissions 

and doing four or five country tunes, 

country rockers, and getting a Nashville producer

5 

COOL PEEPS ON 

KID ROCK’S 

REBEL SOUL 

Though the bulk of Kid Rock’s new 

album was played by his Twisted 

Brown Trucker Band, some judiciously 

deployed guests make their mark on 

the 14 tracks. 

Their ranks include: 

Blake Mills: The California-based 

guitarist, seen throughout 2012 at 

Fiona Apple’s side, appears on seven 

of Rebel Soul’s tracks. 

I’d like to put them out like we do them now. I’m 

not gonna say they’ll be better than the originals. 

That’s tough to top. But I think there’s something 

special about them that people will dig. And I think 

“Wasting Time” could be a very big song the way 

we’re playing it now, without the Fleetwood Mac 

samples. I just think it could be fun. 

MC: Would you think about playing Devil in its 

entirety live? 

Kid Rock: Yeah, why not? That seems like a fun 

thing that fans seem to like with other bands doing 

it. Even though it’s not the most original idea at 

this point, I think it would be something cool for 

the fans to see. 

MC: What do you see on the further horizon, 

after you finish your current deal? 

Kid Rock: We’re always talking about it, and we’re 

still not sure yet. Maybe if I do my own label I’ll 

work twice as hard. Whatever happens, I know I’ll 

always keep releasing records and touring. I’d be 

happy to be blessed enough to keep my fan base 

and be able to tour. I would not be upset doing 

what Tom Petty does––just put out a fucking record, 

play one show to promote it and move on 

and forget about the radio and the political thing 

of going on this TV show or dealing with that 

magazine and having to have extra content and 

all that rigmarole. I’m fortunate enough to have 

that rigmarole, but also fortunate to be able to say, 

“Y’know what? Maybe I don’t have to have it.” So 

I’m not sure where it’s gonna go. I just want to be 

happy making music. 

Contact Nick Stern, 

nick@7-10music.com 

Vinnie Dombroski: The Sponge 

frontman takes the drum stool on five 

songs, including the first single, “Let’s 

Ride.” 

Audley Freed: The former Black 

Crowes guitarist and Dixie Chicks and 

Jakob Dylan sideman joined Rock for 

the five tracks that feature Dombroski, 

co-writing “Celebrate.” 

Keith Gattis: The Nashville 

songwriter and session hand was also 

part of the Dombroski/Freed crew, 

sharing a credit on “Celebrate.” 

Flavor Flav: Public Enemy’s 

hypeman helped usher Rock back to 

his hip-hop roots on “Cucci Galore.” 

for those. Then I’ll get some of my old school 

buddies in the hip-hop business––Rev. Run, 

D-Nice, whoever––to write some rhymes for me 

and to produce four, five tracks of that. So it’d 

be half country, half hip-hop songs, I won’t write 

anything on it, turn it into Atlantic in the fall and 

be done. It would be interesting, that’s for sure. 

It would kind of go out on the weird side while I’m 

focusing on the next Kid Rock record after that. 

MC: You’ve also mentioned re-recording Devil 

Without A Cause for its 15th anniversary (in 

2013). What makes you want to do that? 

Kid Rock: ‘Cause I’ll own it! (laughs) Obviously 

it’s a great incentive to make a record and own the 

masters to it, and it’s my biggest selling album to 

date. But, y’know, people who have seen us live 

know the versions we’re doing now of “Cowboy” 

and “Wasting Time” and “Bawtidaba,” “Bullgod,” 

“Only God Knows Why.” We’ve twisted them all 

up so much it’s very interesting, very cool, and 

See us at NAMM Booth #7106 


Label 

Reps 

e 

Reveal 

e 

What They’ll Sign In 2013 

d 

By Bernard Baur 

d 

Every year it seems as if A&R reps expect artists to bring more and more to the table 

if they want a record deal. For the most part, this year is no exception. However, we 

also found A&R who are willing to develop acts if there is significant potential for 

success. To find out what it takes to get a label deal today we contacted a variety of label 

executives and A&R reps from some of the hottest majors and indies on the planet. Their 

insights will help you understand what you need to do to get their attention. 


WARNER BROS. RECORDS 

Greg Federspiel, A&R 

http://warnerbrosrecords.com 

former artist, Greg Federspiel was a 

member of the alternative rock band 

Making April (Universal Republic), an 

act that has sold over 100,000 tracks on 

iTunes. He’s been an A&R executive for 

almost two years and handles a couple of 

pop-rock acts for Warner Bros., known 

as one of the world’s leading rock labels, 

with a star-studded roster. 

WHAT’S THE HARDEST PART OF 

YOUR JOB? 

Signing new acts. There’s a high turnover rate 

in A&R, and you could lose your job if you fail. 

At many labels you’re expected to get instant 

results. So A&R tend to be very cautious about 

new signings. If it’s a high-profile signing and 

a big money deal, you just put a target on your 

head. It’d better work—in a big way—or you’re 

out the door. That’s why it can take some time, 

often months, before a deal is offered. Artists 

just have to be patient, and understand that an 

A&R rep could lose his job if he’s wrong. 

DO ARTISTS NEED A LABEL TO BE 

SUCCESSFUL? 

The indie market is full of DIY artists that are 

doing quite well. If you have real talent and are 

willing to work very hard, a DIY act can make a 

couple hundred grand a year. For many artists 

that is success. 

However, if they want more on a bigger 

scale, they need the support a label can give 

them. A good label has resources most artists 

“I want to 

see fan 

engagement 

at a high level, 

not just big 

numbers.” 

can only dream about. It can take them to the 

next level and beyond. 

WHAT QUALITIES DO YOU LOOK FOR IN 

ARTISTS? 

I look for long-term potential. As a former artist 

I tend to be more creative regarding artist 

development. But I need to be sure they’re 

worth my time. To determine that, I check 

sales stats, social media sites and research 

everything I can before I pursue an act. I want 

to know what’s going on, what they’ve done 

and whether or not they’re marketable. 

HOW IMPORTANT ARE SOCIAL 

MEDIA NUMBERS? 

They can be important, but they can also 

be gamed. We all know that you can buy 

numbers. So I look for indicators that tell me 

whether or not they’re accurate or suspicious. I 

want to see fan engagement at a high level, not 

just big numbers and little engagement. 

WHAT ARE YOU LOOKING FOR IN 

PARTICULAR? 

I want to find timeless artists who can play 

stadiums. I want their music to transcend over 

generations. They should have a signature 

sound, a radio voice and hit material. Those 

are all incredibly important factors. Then, if I 

believe I can work with an act, I’m more willing 

to take a chance. 

WHY ARE COURTING PERIODS SO LONG? 

It takes time to get everyone on the same 

page. As an A&R executive, you want all the 

departments to work with you, and that takes 

time. It only goes quickly if the label chairman 

or president pulls the trigger. 

CONTACT INFO 

You can email me at gregwbrmusic@yahoo. 

com. But do not include attachments. I won’t 

open them. Instead, send me a link to the 

music. I prefer SoundCloud. 

x 

EMI CAPITOL MUSIC 

GROUP 

(CAPITOL/VIRGIN) 

Kim Stephens, A&R, EMI 

Capitol Music Group 

(Capitol/Virgin); 

President, Forward 

Entertainment 

http://capitolrecords.com 

&R veteran Kim Stephens has 

worked with many labels. Over the 

years he has signed and/or worked with 

acts such as Matchbox Twenty, Collective 

Soul, Sick Puppies, Saving Abel, Adelitas 

Way and more. His most impressive stat 

is that he has been involved with over 50 

million worldwide sales. 

“We like 

acts that 

collaborate 

across 

musical 

and cultural 

boundaries.” 

HOW DID YOU SUSTAIN AN A&R POSITION 

FOR 20 YEARS? 

I’ve been blessed with finding and signing some 

great artists. I’m always looking for the next 

one, and every couple of years I usually find 

an act that interests me. Once I find someone I 

believe in, it’s just knowing how to develop and 

market them. 

DO ACTS NEED TO BE THE COMPLETE 

PACKAGE? 

In a perfect world that’s what most major labels 

want. But, it’s not a perfect world and most acts, 

no matter how accomplished they are, need 

help in some areas. Some sort of development 

is usually part of the process. 


Kim Stephens cont... 

HOW IMPORTANT IS THE ARTIST’S TEAM? 

Artists need a great team behind them if they 

hope to succeed. A strong, knowledgeable 

manager is most important. Although there are 

a lot of DIY acts, most can’t do it all on their 

own. They usually need some kind of support. 

HOW LONG IS YOUR COURTING PERIOD? 

It could take awhile; it’s not as quick as it used 

to be. You have to be sure that you can work 

with an act. 

But delays are not always the fault of A&R or 

labels. Sometimes it’s the act’s representatives 

(managers, lawyers, etc.) who cause the delay. 

When they get an offer, they’ll shop around for 

a better deal. 

It’s risky, though, to do that You could lose the 

original offer that way. 

ARE LIVE PERFORMANCE SKILLS 

IMPORTANT? 

They are if you’re a touring act, and pop and 

rock acts must tour. But some of the acts I’ve 

worked with didn’t have those skills at first. 

In fact, a couple of them were very weak in 

that area. It took them some time to develop a 

strong show. Once they did though, they were 

great. 

DO YOU THINK ROCK WILL BECOME 

POPULAR AGAIN? 

I’ve always been a rock guy, and I think it’s due 

for a resurgence. Right now, in the UK, it’s very 

popular. And I believe it will come back strong, 

but with a different sound. It will probably be 

less edgy and not as hard, more along the lines 

of pop-rock. 

CONTACT INFO 

Artists can email me with links to their music 

at kimstephens710@gmail.com. Do not send 

attachments. 

x 

CENTURY MEDIA 

RECORDS 

Paul Gargano, A&R 

http://centurymedia.com 

entury Media Records is an independent record 

label with offices in the US, Germany and 

Australia. The label specializes in many different 

styles of metal and hard rock music. Paul Gargano 

heads up A&R for Century Media Records and also 

handles day-to-day operations for Century Media’s 

progressive rock imprint InsideOut Music. 

IS CENTURY MEDIA ONLY INTERESTED IN 

METAL ACTS? 

Although we’re known for our metal acts, we 

are trying to diversify our roster. In fact, I was 

brought in to find more mainstream acts, like 

Buckcherry who we recently signed. Currently, 

we’re looking for some radio-friendly acts that 

could cross over. And at this label we have 

everything an act needs in-house, including 

management and booking. 

DO YOU DEVELOP ACTS? 

Every A&R rep has a different approach 

regarding development. Many, especially at 

the major labels, like acts that are already 

pretty complete. I like to work with a balance, 

i.e. a few new acts that need development 

and a few that don’t. Sometimes I’ll even help 

“We’re looking 

for some radiofriendly 

acts 

that could 

cross over.” 

to develop them before signing them. It really 

depends on where they are and what they 

need. 

HOW IMPORTANT IS ORIGINALITY? 

Obviously, it’s great to have your own signature 

sound. But, it can’t be so different that it’s not 

marketable. Most acts have influences, but we 

don’t sign acts that sound too much like them. 

You have to have your own identity so you can 

stand out. 

IS LIVE PERFORMANCE A CRITICAL 

CONSIDERATION? 

It’s a big concern. In many genres it is 

essential. If you don’t have a great show and 

tour with it, you don’t sell records. So, we look 

for acts that know how to put on a compelling 

show. If they’re not very good on stage it could 

hurt their chances for a deal. 

WHAT TRENDS DO YOU SEE COMING? 

I see brand associations becoming very 

important. With a brand sponsor on board 

you can cross-promote and market to a wider 

segment of the population. Today, brands are 

becoming great partners in the music scene. 

In fact, at Century Media we’re associated with 

Monster Energy drink, and looking to expand 

our brand partnerships. 

CONTACT INFO 

You can contact us through our website, which 

has submission information. 

x 

NATIONAL GEOGRAPHIC 

MUSIC 

Jeffrey B. Clyburn, VP 

http://natgeomusic.net 

eff B. Clyburn is the Vice President of 

Music for National Geographic Global 

Media. He overseas National Geographic 

Music, a full-service independent record 

“We like to 

see acts that 

use social 

networks in 

a smart and 

effective 

way.” 

label that features the best in modern 

global sounds, including Grammy Award 

winning Grupo Fantasma, Balkan Beat 

Box, Bedouin Soundclash, Palenke 

SoulTribe, and more. The label spotlights 

music and artists from around the world. 

WHEN DID NATIONAL GEOGRAPHIC FORM 

A LABEL? 

The record label was founded in 2010 as part 

of the National Geographic brand. It’s a fullservice 

label with worldwide distribution. Our 

focus is on global music. We recently won our 

first Grammy Award with Grupo Fantasma, a 

Latin funk orchestra from Austin, TX. We believe 

we’re in a sweet spot right now because 

geographical and cultural boundaries are currently 

crumbling—especially in music. Just look 

at “Gangnam Style,” a Korean artist (PSY) who 

became a global star. 


WHAT TYPE OF ARTISTS DO YOU SIGN? 

We like acts that collaborate across musical and 

cultural boundaries. We also look for artists that 

suit our mission statement, so they should be familiar 

with National Geographic and what we do. 

HOW ACCOMPLISHED DO ACTS 

NEED TO BE? 

It varies. But, in general, we prefer acts that 

have released albums and gotten some results. 

We look for indicators that make us want to do 

business with them, like sales, touring and social 

media exposure. The more they’ve accomplished, 

the better their chances. 

HOW IMPORTANT IS SOCIAL 

MEDIA ACTIVITY? 

It’s absolutely important. It’s about fan engagement 

today. If artists don’t relate with their fans, 

they won’t have much of a career. In fact, social 

media can be a major part of marketing and 

promotions. We like to see acts that use social 

networks in a smart and effective way. 

SPIN MOVE RECORDS 

Peter Barker, Co-founder, 

A&R, Producer 

http://spinmoverecords.com 

pin Move Records is a boutique independent 

label based in Santa Monica, CA, and 

specializes in releasing quality music in an array 

of genres. It has released recordings from artists 

including Amy Kuney, Frank Bell, Jessica Sanchez, 

Rochelle Diamante and Winsome Kin. Peter 

Barker, who co-founded Spin Move in 1996, is a 

producer and engineer who formerly worked with 

Interscope and Sony. He is also the Director of 

Engineering at Threshold Sound & Vision. 

HOW IS YOUR LABEL DIFFERENT? 

We’re a talent incubator and an artist-friendly 

label. We actually develop acts. We work 

with a lot of YouTube artists. In fact, we look 

for acts on YouTube that are resonating with 

an audience. We then try to monetize that 

exposure. 

WHAT QUALITIES DO YOU LOOK FOR IN 

ARTISTS? 

I always look for strong material first. I’m a 

song guy. If an artist is a songwriter we look 

for memorable melodies and compelling 

lyrics. We want hit songs that we can market. 

If they’re simply performers (doing covers), 

they need to be great vocally and connect 

emotionally with the songs. If they can do 

that, we’ll get them material and hook them up 

with co-writers. We have a team of industry 

professionals that could help develop them, 

from writers and producers to managers. 

WHAT TURNS YOU OFF? 

I hate when people contact me and haven’t 

done their homework. I don’t like being used 

to vet their works in progress. I only want 

the best, not something that isn’t ready yet. 

Artists should be honest with themselves and 

get professional opinions before they submit 

material to people like me. And don’t just ask 

your friends or family what they think. They’ll 

support you no matter what. 

WHAT KIND OF DEALS DO YOU OFFER? 

Most of our deals are 50/50 net receipt, across 

all income streams. In the indie world, that’s the 

only way you can generate income. And, we 

service most areas, including marketing, promotions, 

PR, video and touring. 

HOW HAS THE MUSIC BUSINESS 

CHANGED? 

The providers of music no longer dictate how 

fans should consume music. As a result, there 

will be some people that feel they don’t have to 

own music. They can hear whatever they want 

with a streaming service like Spotify. That’s a 

challenge for record labels and artists that is 

only going to get more difficult. What we need 

to do is provide them with something they value, 

whether it’s a show, a video, or a product. 

CONTACT INFO 

Artists can contact us and send links to their 

websites and music at music@ngs.org. 

“We actually 

develop acts. 

We work 

with a lot 

of YouTube 

artists.” 

WHAT KIND OF DEALS DO YOU OFFER? 

I’m not a fan of 360 deals, where labels share 

in every income stream possible. I believe that 

if an artist is asked to give up their rights and 

share everything with a label, they should be 

compensated for doing so. At Spin Move, our 

deals involve social commerce (via YouTube, 

etc.), licensing and sales. 

WHAT TRENDS DO YOU SEE ON THE 

HORIZON? 

The Internet is a goldmine that has barely been 

tapped. It’s a virtual clearinghouse for publishers 

to make money—especially off all the 

cover songs on YouTube. I think there will be a 

concentrated effort to collect royalties across 

the internet from a variety of uses. 

CONTACT INFO 

Anyone interested can contact us through our 

website. 

x 

IT ALL STARTS HERE. 

RANDY KOHRS 

Grammy winning Producer/Engineer/ 

Multi-Instrumentalist 

It all starts with the song. 

However, pros like Randy Kohrs 

and Jim Lauderdale know it 

takes more than talent to turn a 

good song into a 

great record - 

you need the 

right tools. 

“I've used 

Mojave mics on 

all four albums 

we've made 

together. I don't 

care what you 

use them on - 

vocals or 

instruments - 

these mics will 

make you 

proud!” 

RANDY KOHRS 

JOIN 

THE TRIBE. 

JIM LAUDERDALE 

2 time Grammy winning 

Artist/Songwriter 

www.mojaveaudio.com 

Follow us on 


INDUSTRY PROFILE 

By Brett Bush 

‘Up And Comers’ Projects Help New Artists 

Well known for its impressive professional equipment—especially 

its line of keyboards—Casio also has a longstanding reputation of 

making affordable keyboards for players who are just starting out. 

That early spirit and desire to cater to rising musicians has not diminished 

and, in fact, has ramped up in intensity recently with three artist-based 

initiatives: Up and Comers, GRAMMY Camp–Basic Training and The 

Songwriters. 

According to Stephen Schmidt, Vice President of Casio Electronics, 

“Casio has focused over the past 32 years on developing new artists. 

However, in the past two years we have made it a bigger initiative for upand-coming 

artists, and for students.” 

Those efforts include an alignment with the GRAMMYs, and performing 

right organization ASCAP. General Manager of Marketing, Michael Martin, 

has contributed a point-of-view that adds to Schmidt’s business smarts. 

Specifically, Martin offers the musician’s point of view. 

Martin has also contributed his knowledge of social networking to the 

company. “We want to reach out to up-and-comers via social media, in 

addition to traditional media,” says Schmidt. “Social media and online videos 

allow for great exposure for Casio and for the artists.” 

In addition, the company is quite active on Facebook and YouTube. “We 

are making the effort to be a well-rounded company,” Schmidt informs. 

“We are a business, in the sense that a business needs to make money. 

However, we are also a business that cares a great deal about music. In 

this digital age, we still believe in instruments.” Of course, the Casio line 

Ali Guit Fallen Riviera Karmina 

includes digital-based equipment, but Schmidt feels there is a significant 

difference between creating music on a computer and creating it on an 

actual instrument. 

He and Martin are also firm believers in new marketing techniques. According 

to Martin, “Social networking has really expanded our consumer 

base. It provides great exposure for us and for the bands that we feature 

through our various programs.” Martin adds that Casio’s involvement 

with ASCAP and the GRAMMYs has also provided valuable exposure. 

Specifically, Casio’s appearances at ASCAP events held at SXSW promote 

the use of traditional instruments. “At those events, we are able to reach 

out to potential customers, people who don’t go to the NAMM (National 

Association of Music Merchants) show.” 

For Casio’s Up and Comers project, Schmidt, Martin and others evaluate 

artists via Facebook and YouTube submissions. “Of course, we focus 

on piano or keyboard players,” Schmidt qualifies. The winners are provided 

equipment and promotional assistance via social media. Recent recipients 

include Fallen Riviera (featured in Music Connection’s Top 25 New Music 

Critiques of 2011), Ali Isabella and Karmina. “We hope that Fallen Riviera 

and the other winners remember us when they get as big as (longtime 

endorsers of Casio keyboard products) the Chemical Brothers!” 

Casio has also hooked up with Matt Sorum, promoting and funding the 

former Guns N’ Roses drummer’s efforts with in-school music programs, 

as well as providing instruments. “Matt Sorum reached out to us regarding 

the need for instruments in public schools,” Schmidt informs. “It is a little 

selfish to say, but we do recognize that if kids have fewer opportunities to 

become interested in learning music skills, and being able to play in school, 

that diminishes our consumer base.” 

It isn’t a one-sided deal. According to Schmidt, “We’re working closely 

with Matt. We discuss what he wants to do, and there are many different 

programs that we each support. 

“I am not a musician,” adds Schmidt. “I am a businessman. But I respect 

the fact that we sell manual instruments in a digital world. Pro Tools and 

other programs have diminished the use of actual instruments. So we want 

to encourage the use of instruments in any way we can.” 

The Casio company’s relationship with Sorum and the GRAMMY organization 

has gone a long way to enabling that goal. In May 2012, Casio participated 

in the annual “GRAMMY Camp–Basic Training” in New York City 

and awarded four high school students with Privia keyboards. 

Casio has also been involved in The Songwriters project in association 

with the GRAMMYs and BMG management by providing a financial contribution 

to this nationwide search for new songwriters. 

Overall, says Schmidt, the company prides itself on being flexible in 

its support of artists. “We are a well-rounded company that is passionate 

about music.” 

For information regarding Casio’s up-and-coming artists, please visit 

http://casiomusicgear.com/artists 


September January 2013 2012 www.musicconnection.com 45 

21

CAREER CONNECTION 

By Andy Mesecher 

EPIC PROPORTIONS 

Not Just Another “Buy On” Tour 

If you've ever been discouraged 

by a DIY tour, due to expenses, 

travel arrangements or even 

healthy food options, raise your 

hand. Epic Proportions Tour 

founders Gabe Kubanda and Peter 

Sotos were no different. 

The two met at a mixer and 

discussed the current industry’s 

unreasonable touring expectations 

for bands to be taken seriously by 

various labels. Over the next few 

months, Kubanda, a musician and 

VH1 Classic cast member, and 

Sotos, a booking agent, developed 

a new concept: devise a tour that 

guarantees musicians will actually 

make money. 

“We found a better way to book,” 

states Sotos. “We realized that 

there was no way to survive by just 

playing venues.” The only time Epic 

Proportions Tour books a standard 

club is if the venue itself is an 

attraction, like the Hollywood Hard 

Rock Café for example. For the 

most part, Epic sticks to the formula 

of colleges and military bases. 

“I used to be a paratrooper in 

the 82nd Airborne so I have a 

lot of military connections,” says 

Sotos. “I started calling around 

[explaining what the tour could 

provide as a form of entertainment] 

and a lot of the guys I used to serve 

with now [have the authority to 

approve our events]. We recently 

played a military show in El Paso 

with Sick Puppies in front of 2,000 

servicemen.” 

Epic’s managers partner with 

the venue to promote each gig as a 

unique show within the area. With 

the booking responsibilities taken 

out of the hands of the artists, they 

can instead focus on their craft and 

up-coming live performances. 

The tour formula is simple: 

TOUR 

Lost In Atlantis at Eagle Rock High School in Eagle Rock, CA 

"WE DON'T CARE IF YOU DON'T HAVE A FOLLOWING. WE 

DON'T NEED YOU TO HAVE A FOLLOWING. WE HAVE A BUILT-IN 

AUDIENCE AT ALL OF OUR SHOWS." 

Pay $2,500 up front, and let tour 

management handle everything 

else (including hotel and bus fees). 

While the initial cost sounds steep, 

make no mistake, if a band commit 

to the tour, they will earn more 

than the initial investment back 

by tour’s end. “We pay the bands 

$150 per show day,” Sotos says. 

“We guarantee the bands at least 

20 paid show dates. Do the math 

and you see you're guaranteed to 

make at least $500 [more than you 

invested]. Plus we pay a merch 

girl to sit at your table and sell 

your merch while you keep 100 

percent of the sales.” And as the 

experienced booker explains, you 

don’t even need a solid fanbase. 

“We don't care if you don’t have 

a following. We don't need you to 

have a following. We have a built-in 

audience at all of our shows.” 

The tour isn’t accepting just 

any band, however. Because of 

the unique venues, metal and hiphop 

artists should pass on this 

opportunity. Epic seeks artists 

with clean lyrics that don’t involve 

drug references or hate speech. 

“We’re looking for clean cut, upbeat 

entertainment,” Sotos explains. “At 

the end of the day it’s our clients 

who decide to open the gates or 

not. … And we are looking for 

bigger bands because Gabe is 

a singer-songwriter and we don't 

want to do just one genre. Our core 

audience is 14-22. The music has 

to fit that.” 

The Epic Proportions Tour isn’t 

just looking to hear from artists. It 

is also looking for sponsorships for 

its bus and stage as well as media 

coverage. “We jump through hoops 

for our sponsors. We will bring 

products, mention you in all of our 

fliers, interviews, etc. We’re also 

looking to wrap our bus with logos 

which is great for anyone because 

we are constantly on tour.” 

Should the Mayans be crazy, 

2013 will be a big year for Epic 

Proportions Tour. Artists on the 

tour will be involved in EPT Spring 

Tour, and parts of Warped Tour, 

with appearances lined up for 

SXSW, NAMM and CMJ as well. 

Contact Gabe Kubanda and 

Peter Sotos, 

info@epicproportionstour.com 


CRAS PEOPLE 

Make it! SCAN HERE to hear their story. 

® 

CRAS 

CONSERVATORY OF 

RECORDING ARTS & SCIENCES 

1.888.604.4075 | CRAS.edu 2300 East Broadway Road, Tempe, Arizona 85282 

Consumer information available at: www.audiorecordingschool.com/consumer.html 


CD REVIEWS 

In order to be considered for review in the CD Reviews section, you must have a record deal with a major label or an independent label with an established 

distributor. If you do not, please see our New Music Critiques section. 

Eva Cassidy 

The Best of Eva Cassidy 

Blix Street Records 

Producer: Chris Biondo 

ijklmnopqrs 

Boys Like Girls 

Crazy World 

Columbia Records 

Producer: Martin Johnson 

ijklmnopqrs 

Alexander Spit 

A Breathtaking Trip to that Otherside 

Deacon 

Producer: Alexander Spit 

ijklmnopqrs 

Whitehorse 

The Fate of the World Depends 

on This Kiss 

Six Shooter Records/Warner 

Music Canada 

Producer: Luke Doucet 

ijklmnopqrs 

Before her untimely death at 33, Eva 

Cassidy, not widely known at the time, 

had already demonstrated great artistry. 

This compilation unites Cassidy’s 

broad body of work showcasing her 

enormous range and depth of expression. 

From the bluesy, gospel-like 

“Wade in the Water” to ballads like 

“Autumn Leaves” and “I Know You by 

Heart,” Cassidy proves she is a talent 

to be reckoned with. Her prophetic 

rendition of Sting’s “Fields of Gold” 

surpasses his version while “Over the 

Rainbow” creates excitement through 

vocal arrangement and unique interpretation. 

Although Cassidy didn’t live 

to see her huge success, her gift to the 

world has rendered her an international 

treasure. ——Ellen Woloshin 

Crazy World is Boys Like Girls’ first 

release since their short hiatus, which 

began in February 2011. The album 

is peppered with a number of angstheavy 

songs counterbalanced with 

a fair offering of more upbeat, lighthearted 

tunes that have the potential 

to incite arena sing-alongs. Standouts 

include “Life Of The Party,” a jaunty 

ditty sounding not unlike Paul Simon. 

“Leaving California” launches with 

a contemplative, nearly melancholy 

piano riff but overall manages to avoid 

darker, more downcast waters. Crazy 

World starts and ends with the more 

sanguine songs framing the dirge-like 

material that tends to weigh down the 

middle. 

——Rob Putnam 

Johnny Depp eat your heart out, or 

puke your mushrooms out, because this 

S.F.-raised/L.A.-based rapper/producer 

is all up on your Hunter S. Thompson 

tip; he’s borrowing the idea of a 

psychedelic roadtrip as a thematic 

device (a la Fear And Loathing), and 

he’s eating shrooms, drinking Jack and 

driving in the desert. We don’t know if 

he really was DUI, though it sounds 

and appears that way in a new video 

helmed by Deacon co-founder, Jason 

Goldwatch. You’ll appreciate a rapper 

that cites Thompson and Charles Bukowski 

along with his anti-gangster 

bravado. You’ll also recognize that he 

doesn’t date the album by submitting to 

the dubstep craze, but keeps the beats 

fierce and dubby. ——Daniel Siwek 

Luke Doucet and Melissa McClelland 

have established solo careers in their 

own right, with Juno Award nominations 

and a collaborative/backing vocalist 

stint with Sarah McLachlan, respectively. 

So when the husband and 

wife decided to team up to form Whitehorse, 

it was destined to evolve into 

something bigger than the both of them. 

Their sound spans the gamut from the 

darkly seductive “Achilles’ Desire” to 

the serene and poetic “Mismatched 

Eyes.” The disc is a travelogue down 

a myriad of avenues through alt-country, 

new-age folk and bluesy pop. And 

the mash up of acoustic-meets-digital 

recalls ‘80s new wavers Timbuk 3 

crossed with the artistry of a Richard 

Thompson. ——Eric A. Harabadian 

Kate Earl 

Stronger 

Downtown Records 

Producer: Various 

ijklmnopqrs 

Geri King 

Masquerade 

Khepera Records 


ijklmnopqrs 

Coheed And Cambria 

The Aftermath: Ascension 

Everything Evil/Hundred Handed 


ijklmnopqrs 

Robert DeLong 

Just Movement 

Glassnote Records 

Producer: Robert DeLong 

ijklmnopqrs 

Uplifting yet heartbreaking, inspirational 

yet wandering, Stronger follows Kate 

Earl’s passionate soul as it embarks on 

an enlightening voyage of life and love. 

Influenced by the lyrical brilliance of 

Brett Dennen, Earl resonates the raw, 

folksy sound of iconic poetic muses 

(think Linda Ronstadt on “California,” 

early Joni Mitchell on “Stronger”) while 

infusing a rustic pop-rock/indie vibe all 

her own. With this release Earl emotionally 

expands her artistic boundaries 

as a hopeful, free-spirited American 

Girl searching for abandoned compassion 

(“Raven”). A lyrical journey backed 

by catchy acoustics and crisp, soothing 

vocals, Earl eventually discovers some 

life obstacles are simply “Not the End 

of the World.” ——Danica Bellini 

This renowned entrepreneur and 

Grammy and Dove Award nominee 

has enjoyed four Top 10 hits on Australian 

radio and gold/platinum sales 

in over seven countries. With its blend 

of vulnerability, romance and female 

empowerment in the face of faithless 

lovers, King’s fourth full-length set 

could be the one to push her over the 

top Stateside. Beautiful backing vocals 

behind her sweet yet sassy Patti 

Austin-like emotional lead voice, she 

throws up a colorful mix that’s grounded 

in classic R&B yet includes splashes 

of jazz, hip-hop and electronic. 

She’s going for a worldwide release— 

no doubt pleasing her longtime fans 

as her infectious vibe instantly creates 

new ones. ——Jonathan Widran 

The days of indie Coheed and Cambria 

are over. However, the first half of this 

double feature (remember when labels 

actually released two-part CDs at once?), 

The Aftermath: Ascension, may bring 

vintage fans back to future shows. With 

Josh Eppard returning to the kit—where 

he belongs (nothing against the talented 

Chris Pennie)—and the addition of bassist 

Zach Cooper, the album begins with 

a conversation between astronaut and 

supercomputer (think Sigourney Weaver 

in Alien). We are then faded into the epic 

tale of “Domino the Destitute” before 

settling into “The Aftermath.” Similar to 

Year of the Black Rainbow, listeners will 

obsess over one hook only to mildly enjoy 

the next, but understand the big picture 

nonetheless. ——Andy Mesecher 

Robert Delong isn’t always a bummer; 

on a few tracks he’s actually rocking the 

party (even if the party is just the two of 

you in the car on the way to Coachella). 

And on another, “Few Years Make,” he’s 

the Paul Simon of electronica, using his 

sweet voice to give us vignettes of a love 

story. One of DeLong’s favorite movies 

is 2001: A Space Odyssey, which 

explains why many of his rhythms start 

out primal only to be match-cut with the 

technologically sublime; and yet, deep 

down, no matter how mechanical, like 

HAL, it’s got soul. Many of his sounds 

come from his interaction with a series 

of video game systems (especially the 

Wii) which, no matter how artificially 

blissful, is comfort food for our generation’s 

ears. ——Daniel ——Daniel Siwek Siwek 


MUSIC 

ATTORNEY 

26 Yrs. Pro Attorney / 35 Yrs. Pro. Musician 

Legal Expert: 

• Music Entertainment 

• Contracts 

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Lawyer 

Free Email & Phone 

Consultation: 

Call or Email Anytime: 805-557-0660 

chris@chrisolsenlaw.com 

www.chrisolsenlaw.com 

MUSIC CONNECTION NOVEMBER 22, 2004 - DECEMBER 5, 2004 

COMPLETE PRO AUDIO SERVICES 

• Custom configured Pro Tools system rental w/ 

professional installation 

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• Data transfer & hard drive recovery 

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35 


NEW MUSIC CRITIQUES 

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. 

Brandon Alan 

AM Session 

Contact: eileen@eileen.koch.com 

Web: brandonalanmusic.com 

Seeking: Label, Film/TV 

Style: Singer-Songwriter 

Username: brandon alan 

Contact: bgreiert@gmail.com 

Web: sonicbids.com/amsessionmusic 

Seeking: Film/TV, Booking, Management 

Style: Classic Rock/Jam Band/Rock 

Username: amsession 

Production 

9 

Lyrics 

7 

Music 

8 

Vocals 

9 

Musicianship 9 

n altogether appealing vocalist / 

Acrafty songwriter meets up with 

superior engineering and the results 

are high-calibre, mainstream and a 

little bit country. The college ladies 

will especially take to Alan's resonant 

rasp, whose promise of sexy intimacy 

recalls John Mayer. This artist is also 

a nimble guitar picker whose perfect 

tone and concise solos connect time 

and again. Exploring the ins and outs 

of love relationships on "Goodbye," 

"Different Way" and the stark, simple 

"Just Say When," this artist and his 

expert backups have a bright future. 

Production 

9 

Lyrics 

7 

Music 

9 

Vocals 

8 


ike an engine spewing gritty, greasy 

Lsmoke in its wake, this guitar-driven 

outfit gets gloriously dirty guitar effects 

on every outing. The chunky tone of 

"16th Broken Road" mirrors the tune's 

malevolence; and even better news is 

that Bobby Greiert's gravelly, whiskeyseared 

voice is the perfect match. On 

"Villain" he shreds the vocal, really 

sells its bar-brawl qualities. "Evidence" 

adds a tasty sax solo and bourbonsweet 

organ undertones. Like a great 

tapestry, each song is distinctive yet 

of a larger piece, making these guys a 

cut way above most blues-rock bands. 

Vassy 

Kat McGivern 

Contact: vassybookings@gmail.com 

Web: kissmyvassy.com 

Seeking: Booking, Film/TV 

Style: Pop 

Username: vassybookings@gmail.com 

Contact: amanda@lafamos.com 

Web: katmcgivern.com 

Seeking: Label, Film/TV, Booking 

Style: Pop 

Username: kat mcgivern 

Production 

8 

Lyrics 

8 

Music 

7 

Vocals 

8 


.A. based Aussie brings an appealing 

voice and freshness to her 

L 

fizz-pop material, like "We Are Young," 

an infectious tune whose huge beats 

and singalong chant remind us of 

fun., with a little '80s "Hey Mickey" 

flavor. The supercatchy "Could This 

Be Love" employs an island uke, 

cute harmonies and cool synth tones 

for a female Bruno Mars effect. The 

carbonated, carefree pop continues 

with "Beautiful Day." The promising 

Vassy is currently enjoying Billboard 

dance chart success with remixes of 

"We Are Young" by Dave Aude. 

Brit Woollard 

Production 

8 

Lyrics 

8 

Music 

8 

Vocals 

8 


ith her catchy electronic dance- 

hooks and in-your-face lyrics, 

Wpop 

Boston-based artist Kat McGivern 

stakes a claim to territory somewhere 

between Ke$ha and Karmin. Her 

propulsive, 4/4 pop tune "Mr. Sleazy" 

is a swaggering putdown song. "Hit It 

& Quit It" is a bold sex-fueled comeon 

that's beyond provocative. The 

acoustic guitar-based "Cheap Thrill," 

however, reveals McGivern's fragile, 

vulnerable side, complete with a classic 

Cranberries vocal flair. All in all, 

this artist presents a volatile, multidimensional 

(or is it schizo?) persona. 

Production 

8 

Lyrics 

7 

Music 

8 

Vocals 

8 


Franklin Vanderbilt 

Contact: franklinvanderbilt@mac.com 

Web: franklin-vanderbilt.com 

Seeking: Film/TV 

Style: Rock 

Username: franklin vanderbilt 

ction-flick credit sequences come 

Ato mind when hearing Vanderbilt's 

dynamic, pyrotechnic "Alive" (great 

kick-drum) from this self-produced 

artist (and Lenny Kravitz drummer) 

whose husky-sexy voice proclaims 

"You will never take me alive!" While 

the vocal is overpowered by the song's 

production (perhaps add a female 

backup?) his best vocal persona emerges 

on the warm, acoustic ballad 

"Everybody's Talkin' About Love." Both 

tunes are solid, but could benefit from 

a judicious trim and a lighter touch on 

the drum mix. 

Norma Cordova 

Production 

8 

Lyrics 

7 

Music 

8 

Vocals 

7 


8mm 

Contact: sos@sosmanagement.com 

Web: 8mmlovesyou.com 

Seeking: Southern Tour Partner 

Style: Alt. Industrial Trip Hop Country Rock 

Username: 8mm 

ew songs from 8mm are altogether 

Npossessed by a folk-blues demon, 

as in "Between the Devil and Two Black 

Hearts" where boot-stomping drum 

beats and male and female vocal leads 

make it a prime film/TV candidate for 

a prison breakout sequence. Juliette 

Beavan takes the lead on both "Kin" 

(nice slide work could be louder) and 

"The One," whose dynamic intro sets 

the pace for Beavan's yelps and purrs 

amid an assortment of wailing guitars. 

The track conjures visions of an excellent 

car commercial placement. 


NEW MUSIC CRITIQUES 

Handshakes 

Jai Nitai Lotus 

Production 

7 

Lyrics 

7 

Music 

8 

Vocals 

8 


Contact: info@handshakesband.com 

Web: handshakesband.com 

Seeking: Label, Booking, Film/TV, Distr., 

Mgmt 

Style: Indie Rock / Alt Rock 

Username: handshakes 

olid hooks and Beatleeque har- 

are married to obtuse 

Smonies 

lyrics characterizes by this tight unit, 

whose bedroom-quality recordings 

make good use of a doubling effect on 

vocals. "Vacation" is upbeat powerpop 

with full-band vocal choruses, chiming 

guitars and a distinctive melody line. 

On "Villains & Crooks" the band veers 

into sexy-cool psych-pop with notable 

bass work. "Explosions" kicks hard 

with its chorus, big guitar chords and 

a tasty synth-trumpet effect. It's clear 

the Handshakes have a vision for what 

they can become. Keep working. 

Production 

8 

Lyrics 

7 

Music 

7 

Vocals 

7 


Contact: nik@ballinpr.com 

Web: soundloud.com/lotus-jai-natai 

Seeking: Label 

Style: hip-hop 

Username: jai nitai lotus 

igorous, but not aggro, bold but 

Vnot boastful, JNL's tracks emit an 

"organic, no artificial ingredients" glow 

beginning with the hand claps and 

cello of "Mingus Clap" whose gliding 

freeflow in the second verse has a 

Kanye vibe minus the arrogance. Dark 

beats and a message of light defines 

"Hard Times Being Blessed" a tune 

that, with its sweet a cappella outro, 

is all about the feel, not the hook. 

"Get Gone" has unique beats, fresh 

sounds, a wholly distinctive thrust. We 

don't hear radio hits; but we do feel the 

integrity, and the talent to back it up. 

Production 

8 

Lyrics 

7 

Music 

7 

Vocals 

7 


Le Reverie 

Contact: Doug Deutsch, dougdeutschpr@ 

gmail.com 

Web: lereverie.com 

Seeking: Label, Booking, Film/TV, Distr. 

Style: Goth-Rock 

Username: le reverie 

ronted by Allie Jorgen, Le Reverie 

Fdelivers a goth-fueled arenasized 

vision exemplified by the darkly 

sensual "Twisted" and "Le Reverie," 

with heaps of hard-rock riffage and 

haunted yearning. While Jorgen lacks 

multifaceted, powerhouse pipes, she 

gets the most from her instrument on 

the power ballad "Ghost of You," with 

its lighter, Stevie Nicks aura. Overall, 

we sense that her talented musicians 

could contribute even more, and some 

elements (piano) could sound much 

grander, to complement the band's 

epic intentions. 

Spunknoble Photography 

Production 

8 

Lyrics 

7 

Music 

7 

Vocals 

8 


Samantha Newark 

Contact: notimpossiblesheLLC@gmail.com 

Web: samanthanewark.com 

Seeking: Label, Mgmt, Film/TV, Booker 

Style: Synth/Pop/Electronica 

Username: samanthanewark 

ewark's synth-pop material is ex- 

produced, particularly in its 

Npertly 

vocal blends. The erotic, big-beat "I 

Got Everything" is post-Abdul dance 

pop with all of its charms on its shiny 

surface. The song's decent hook, 

dressed with vintage synth FX, builds 

drama and makes for a solid outing. 

Bursting with optimism, "Something 

Good" mines a similar vein with excellent 

vocal production. Newark's 

voice is best on "Take Me As I Am," 

where the track takes a back seat to 

the singer's warm maturity. In fact, the 

ballad sounds like her true strength. 

The Real Tripp 

Contact: trippmo00@yahoo.com 

Web: soundcloud.com/the_realtripp 

Seeking: Label, Booking 

Style: Urban Folk 

Username: tripp 

A Splinter 

Contact: asplinterband@gmail.com 

Web: reverbnation.com/asplinter 

Seeking: Label, Booking, Film/TV, Distr. 

Style: World Pop, Folk 

Username: a splinter 

Production 

6 

Lyrics 

7 

Music 

7 

Vocals 

7 


he stark simplicity of this artist's 

Twork—folk-blues with a very 

stark, modern edge that's akin to 

Elliott Smith—sneaks up and takes 

hold. That's especially true of "Dense 

Bones" where voice, acoustic guitar, 

the subtle addition of drums and 

electric guitar filligrees makes a bigger 

impact than one might expect, building 

drama for its line "I see the devil and 

he's gaining." On the equally haunting 

"Love Is Bad," Tripp uses compelling 

wordplay that commands attention. 

There's a definite core of originality 

here that holds promise. 

Production 

7 

Lyrics 

5 

Music 

6 

Vocals 

6 


rtist Ashot Tadevosian has en- 

solid production and excel- 

Alisted 

lent musicians for his world-flavored 

project, A Splinter. "Black Cat," delivered 

in his native language, is 

most notable for its appealing violin. 

"The Date" and "Every Day" are both 

sung without artifice in English with 

a somewhat Leonard Cohen air. The 

former tells of a sexy encounter that 

leads to an unfortunate end, while 

the latter is an all-out screed against 

modern consumerism. We suggest 

this artist work to make his lyrics more 

poetically vivid. 

SUBMISSION GUIDELINES: There is absolutely no charge for a New Music Critique. We critique recordings that have yet to connect with a label or distributor. 

To be considered please go to http://musicconnection.com/amp and click on “Get Reviewed.” All submissions are randomly selected and reviewed by committee. 


LIVE REVIEWS 

von Grey 

The Roxy Theatre 

West Hollywood, CA 

Contact: promo@vongreymusic.com 

Web: http://vongreymusic.com 

The Players: Fiona von Grey, vocals, guitar, 

violin; Annika von Grey, vocals, guitar, violin, 

banjo, keys; Petra von Grey, keyboards, lap 

steel, backup vocals; Kathryn von Grey, cello, 

mandolin, moog bass pedals. 

Username: promo@vongreymusic.com 

Material: A talented quartet of sisters, von Grey 

seamlessly blend elements of folk, country and 

rock. If Tori Amos and the Dixie Chicks adopted 

a pack of teenagers with indie cred, this is what 

they’d sound like. Songs like “Coming For You” 

highlight the group’s knack for driving, catchy melodies, 

while their softer, deeply personal side is 

exposed through tunes like “Shane.” The band’s 

instantly relatable songs seem perfectly made for 

AAA radio, though there’s potential here for crossover 

to country or AC formats. 

Musicianship: The heart of von Grey lies in 

dual lead singers Fiona and Annika. Their voices 

soar, twist and harmonize perfectly, reminiscent 

of another sister group—Tegan and Sara. Each 

member of the band plays multiple instruments, 

allowing for broader arrangements in the songs. 

Kathryn’s cello playing shines powerfully through 

the music, while youngest sister Petra admirably 

handles the keys. One can’t help but think that the 

group would benefit from a live drummer, rather 

than using samples and drum pads. Such an addition 

would add to the sound and really give the 

von Grey: A talented quartet of sisters who seamlessly blend elements of folk, country and rock. 

music greater sonic depth. 

Performance: While Petra and Kathryn did fine 

work holding down their own, dual lead vocalists 

Fiona and Annika really stole the show. It wasn’t 

just the musicianship that seemed beyond their 

years, but their stage presence. From engaging 

smiles to humorous interactions with the crowd, 

these girls displayed charisma often missing in 

performers twice their age. They also showed an 

ability to roll with the punches when things didn’t 

go to plan. Let a mic issue and some frayed violin 

strings interrupt the good time? Not these girls. 

A standout moment came in the middle of their 

set when the group broke out a jazzed up version 

of “She’s A Lady.” The crowd was buzzing 

over the cover, though one couldn’t help but smile 

when realizing that Tom Jones recorded his version 

more than 20 years before any of these girls 

were born. 

Summary: Armed with ample musical talent and 

a penchant for writing songs that get stuck in your 

head, the future for von Grey is bright. Before 

playing their last song, Annika confessed that this 

was the band’s first performance in L.A. Judging 

by the crowd’s reaction, it won’t be their last. 

Corey Irwin 

Mystery Twins 

The End 

Nashville, TN 

Contact: info@mysterytwins.com 

Web: http://mysterytwins.com 

The Players: Doug Lehmann, vocals, guitar; 

Stephanie Brush, vocals, drums. 

Username: Mystery Twins 

Material: This is grassroots, primitively bang-onthe-drum 

garage rock with an eerie vocal touch. 

Coming through waves of gruff, surfy elements 

and rock from a time before rock was even a 

thing—back when it was still tailed by “n’ roll”— 

are vocal harmonies whose rustic, nasally pierce 

send a shiver down the spine and recall the 

offbeat and pitchy crooners of the ‘50s and ‘60s. 

Musicianship: Mystery Twins know what to do. 

While the band formed only two years ago as 

a side project, Lehmann and Brush have been 

melding their respective instruments with the 

Clutters—a staple of Nashville underground 

rock—for more than 10 years. So, yeah. Onstage 

as the Mystery Twins, they need each other. 

Brush’s drumming, which has a retro jangle 

alternated with a Meg White fixation with the 

basic stomp and thud, needs the twangy gush 

of Lehmann’s guitar, just as his smoother vocals 

need the sharper edge and higher pitch of hers. 

Performance: It’s unfortunate but undeniable, 

the degrading effect of the empty house. Only 

about 25, most of whom were more preoccupied 

with one another and the bar in the back of the 

room, made it out to The End for Mystery Twins, 

who were the opening set. Maybe everyone was 

at Mercy Lounge for Wild Feathers, but it just 

Mystery Twins: A grassroots, bang-on-the-drum garage rock duo. 

wasn’t the night—and the sound, in quality and 

clarity, was lacking. That aside, a handful who 

had their eyes on the stage could vouch for the 

fact that, while Lehmann and Brush played rock 

& roll with the northern industrial, Motown feel, 

their harmonizing, which they did on every song, 

faced more toward the south and west. The pitch 

and candidness of their doubled-up voices gave 

the impression of an old-time folk or country 

duo—who just happened to have a wiry, electric 

backdrop. 

Summary: If Mystery Twins can’t be the hired 

band at an early ‘60s prom, they should at least be 

playing in a full venue with people moving—and 

they have. As one of many drum and guitar duos, 

they can hold their own with a sense of melody 

that’s somber, sweet and ornery all at once, and 

through the charismatic and unpolished contrast 

of their voices. 

——Jessica Pace 

Jessica Pace 

GET YOUR ACT REVIEWED: See musicconnection.com/amp. Please DO NOT mail a package; we no longer accept them. 


LIVE REVIEWS 

Casey Wickstrom 

The Joint 

Los Angeles, CA 

Contact: caseymwickstrom@gmail.com, 

408-410-7281 

Web: http://caseywickstrom.com 

The Players: Casey Wickstrom, lap 

slide guitar, vocals. 

Username: caseymwickstrom@gmail.com 

Material: Casey Wickstrom plays an unusual 

form of lap slide guitar, utilizing an ordinary 

acoustic guitar rather than an electric steel or resonator, 

which are far more common. Although he 

doesn’t use the typical slide, Wickstrom’s acoustic 

is modified. It has a raised action, heavy gauge 

strings and open tuning. The results are simply 

astounding. His tunes generally start with some 

dirty yet tasty slide action, a la Duane Allman. 

Then he kicks it up into Ry Cooder/Ben Harper 

territory with badass rhythms that grow bigger, 

louder and faster until they finally reach an incredible 

emotional crescendo. It’s so overwhelming it 

produces a diabolical downpour that drenches listeners 

in blues, rock and outright madness. 

Musicianship: This musician is a master guitarist, 

and his enthusiasm is infectious. Once 

he starts playing, he’s instantly compelling. The 

magnitude of his talent is obvious and his energy 

level is through the roof. His instrumental songs 

tend to be the best. They have a driving passion 

that verges on insanity. The few tunes he 

Little Red Lung 

Bootleg Theatre 


Contact: littleredlung@gmail.com 

Web: http://littleredlung.com 

The Players: Zoe-Ruth Erwin, lead vocals, 

keyboard; Rob Hume, bass, backup vocals; Ali 

Nikou, guitar; John Broeckel, drums. 

Username: littleredlung 

Material: Little Red Lung's material is best 

marketed to those who love Nine Inch Nails and 

Godhead. No, you’re getting something different 

from industrial music, but thematically you can 

expect the same evocative qualities of a sordid 

sanatorium; a private hell of a hospice where 

Ken Kesey’s Nurse Ratched might be your only 

intercessor. The best example of this lyrically is 

“50 Fingers”: “You play the game like no one’s 

watching. Please wake up. Wake up! There’s 

three inside the next apartment. Please get up!” 

The Rorschach imagery continues on songs like 

“Ink Blot”: “We’ve been relying on ink blot tests, 

tethering white silhouettes.” 

Musicianship: Hume and Erwin both effectively 

harmonize throughout each performance. The interplay 

of guitar and keyboard between Erwin and 

Nikou on “Rare Bird” is like a fun call-and-response 

somewhere between the styles of Chris Isaak and 

Tom Waits. Nikou exhibits great control of the 

whammy bar on haunting tremolo rich instrumentals 

while Broeckel and Hume sync up nicely on some 

militaristic beats for a Gaslight Anthem feel. The 

structure of “50 Fingers” showcases dynamic 

shifts in tempo and scale and expresses the 

band's ability to pull off such changes with ease. 

Performance: Little Red Lung’s website promised 

an “avant-indie” display of music video and performance 

art but that was not to be. Despite this, 

the band got a solid response from the standing 

room only audience. Erwin’s long red hair and 

Casey Wickstrom: A diabolical downpour of acoustic lap slide that drenches listeners in blues and rock. 

does sing are not quite as strong, but are decent 

enough. His voice is gruff and abrupt, almost like 

a percussion instrument that’s integrated into the 

music. Overall, it’s a memorable display of great 

craftsmanship. 

Performance: Wickstrom was the first act on a 

long bill, and few knew what to expect. Well, he 

surprised everyone in the house. Within minutes 

he had the crowd entranced and on its feet. Even 

the venue’s manager and bartenders were caught 

up in the musical storm that is Casey Wickstrom. 

Between songs, he engaged the audience in a 

Little Red Lung: An engrossing mixture of disparate influences. 

vintage tapestry print tunic dress made it hard not 

to draw comparisons to the Mamas & the Papas. 

This ‘60s influence was reinforced with the band’s 

performance of “Into A Landfill,” comparable to 

Florence & the Machine’s “Dog Days Are Over,” 

although vocally Erwin bears a strange similarity 

to Fiona Apple. 

There were some feedback issues on guitar, 

possibly because an audience member shouted 

inappropriately that the guitar needed to be louder. 

This choice lost Erwin’s keys in the mix. 

Summary: The frontwoman's raspy vocal quality 

is perfectly suited to wicked jazz, exemplified 

very personable way, explaining his tunes and 

style of play. It was bravura performance all 

around. Indeed, no one wanted his set to end. 

Summary: This dude is a player’s player. Other 

musicians can appreciate his skills, while nonmusicians 

are just blown away. You don’t often 

see artists like this until after they’re stars. But 

Casey Wickstrom is an exception, in more ways 

than one. He’s ready for the big time. In fact, he 

plays like he’s already there. 

——Bernard Baur 

in Little Red Lung’s material (think Billie 

Holiday’s Strange Fruit). This proclivity to jazz 

in the contemporary avant-garde is not without 

precedent in the work of Lady Gaga and fits 

nicely within the band’s overall set. It may be the 

direction the band will grow into as they progress. 

Little Red Lung is poised for success with 

a new self-titled EP that has already received 

significant exposure with a remix of their song 

“Fangs” appearing on So You Think You Can 

Dance. The production standards for Little Red 

Lung’s audio-visual synthesis make for a viable 

commercial product. 

——Brooke Trout 

Bernard Baur 

Dave Long 


LIVE REVIEWS 

The Elizabeth Kill 

Molly Malone’s 


Contact: sarahgoffmusic@hotmail.com 

Web: http://theelizabethkill.com 

The Players: Sarah Goff, vocals; Jeremiah 

Roiko, guitar; Gabriel Guyer, bass; Coreky 

Manske, drums. 

Username: the elizabeth kill 

Material: Outfitted with a female lead singer, the 

Los Angeles-based rock quartet known as the 

Elizabeth Kill show no mercy with their powerpacked 

set. But this band are more than just a 

wall of sound built to break eardrums. Their material 

contains a deeper element that could only be 

pulled from a mature group of musicians. This in 

no way means they are old or outdated; the Elizabeth 

Kill are simply a band that know exactly what 

they want and how to share it. 

Musicianship: With musical maturity comes a 

meticulous line-up that makes the Elizabeth Kill 

a fascinating force on stage. Goff’s vocals command 

attention with a sturdy dynamic range that 

never slips beneath the massive sound surrounding 

her. Roiko owns his guitar, wailing out solos 

that could drop jaws, while Guyer channels his 

energy through tenacious bass lines. Manske’s 

timing is spot-on as he plays through impeccable 

drum fills without breaking a sweat. 

Performance: The show began with a unique approach 

that immediately captured the audience’s 

attention. As the band did their sound check, Goff 

guided two human figures draped in a large white 

sheet through the crowd and sat them in chairs 

placed in front of the stage. What seemed to be 

The Elizabeth Kill: A band of seasoned musicians built by a passion for live performance. 

a standstill prop eventually became a projection 

screen for a preview of a “making the band” 

documentary. Initially feeling a little showy, the introduction 

actually prefaced the show quite well, 

presenting the group as unique individuals. After 

this brief moment of self-promotion, the Elizabeth 

Kill jumped right into their set with the oddly appropriate 

“Freakshow.” 

This four-piece rocked the stage with an incredible 

presence and managed to stay perfectly 

in sync with one another. It was obvious that they 

all loved what they were doing, which made for 

an extremely passionate and memorable performance. 

Summary: The Elizabeth Kill take their band 

very seriously. Never over the top, they’re careful 

to avoid being derivative. Above all, the passion 

each player holds for his or her craft is the glue 

that binds this act together to create a solid force 

that can rock any stage. 

——Allegra Azzopardi 

Allegra Azzopardi 

Amber Rubarth 

Webster Hall 

New York, NY 

Contact: monica@thinkpress.net 

Web: http://amberrubarth.com 

The Players: Amber Rubarth, vocals, guitar, 

piano; Dave Eggar, cello; Chuck Palmer, percussion, 

drums; Max ZT, hammered dulcimer; Special 

guests: Rosi Golan, backup vocals; Daniel 

Mintseris, melodica; Patrick Mangan, fiddle; 

Chad Vaccarino, backup vocals. 

Username: AmberRubarth 

Material: Billed as acoustic/folk, Amber Rubarth 

enlists a unique array of musicians to create a 

signature sound that goes beyond any genrespecific 

label. The band’s configuration is key 

to elevating Rubarth’s material from guitar-centered, 

well-crafted songs to true sonic gems. In 

“Letter From My Lonelier Self,” Rubarth sings of 

the missed opportunity to tell someone how you 

feel. The song is heightened by striking harmonic 

changes in the chorus along with an underlying 

cello, which pushes the emotional envelope. In 

“Rough Cut,” Rubarth showcases her piano skills 

with a driving keyboard motif joined by cello and 

percussion. 

Musicianship: Rubarth has good vocal chops 

and dead-on pitch, but more importantly she has 

natural vocal ability that takes her performance 

to the next level. With a charming vulnerability, 

she uses her full range when needed. Doubling 

on guitar and piano, the songwriter executes both 

equally well. 

Grammy nominated cellist Dave Eggar is not 

only a virtuoso technician but plays with stunning 

tonality and depth of emotion. Chuck Palmer on 

Amber Rubarth: A savvy acoustic-folk artist surrounded by talented personnel. 

percussion and drums knows just what rhythmic 

touches best serve the material while Max ZT on 

hammered dulcimer is the added touch that gives 

this musical coterie its unique flavor. 

Performance: In just shy of an hour, this audience 

certainly got their money’s worth. In addition 

to this engrossing core band, Rubarth spotlighted 

a number of special guests; each brought something 

to the table and enhanced the show. With 

wall to wall music, it didn’t leave much room for 

audience interaction. Rubarth’s between song 

banter was sparse and sometimes the audience 

became so caught up in the sonic beauty of the 

playing that one couldn’t focus on what was going 

on lyrically. Toward the latter part of the set 

she wowed the crowd with her rendition of Bob 

Dylan’s “Just like a Woman.” 

Summary: Rubarth is a savvy artist who, in addition 

to her natural talent, puts together a stellar 

performance by venturing outside the box in her 

choice of band personnel. When you like what an 

artist is doing, there is a natural inclination to want 

to know more about her and how she sees the 

world, which incidental commentary can convey. 

Perhaps a bit more would have been welcome. 

Rubarth has shared the stage with Kenny Loggins 

and Lisa Loeb and was the winner of NPR’s 

Mountain Stage New Song Contest. 

——Ellen Woloshin 

Mark Shiwolich 


LIVE REVIEWS 

Blackmail 

Simon’s After Dark 

Allen Park, MI 

Contact: Mike Brooks, 313-258-4665 

Web: http://reverbnation.com/blackmailtheband1 

The Players: Kalonji Hakeem Mayaasa, lead 

vocals, hand percussion; Mike Brooks, guitar, 

backup vocals; Akmed “Bygg” El Shabazz, bass; 

Doug Austin, drums. 

Username: blackmail 

Material: Blackmail’s self-described “ghetto rock” 

is an amalgam of classic rock, metal, soul, rap 

and blues. The set list consists primarily of songs 

taken from their indie release Hard Groove. On 

the heels of a guitar-driven “Peter Gunn” theme 

they erupt into the rhythmically dense and riffladen 

“Running from the Sun.” “Circles” is another 

number that deftly blends smooth pop vocals with 

clever and catchy rap hooks. “Govt. Mule” is a 

relentless groove rocker that invokes thought and 

a socially conscious attitude. Influences filter in 

from a variety of sources including melodically 

heavy guitar a la Van Halen and Jimi Hendrix, the 

song craft of Lenny Kravitz and the modern poetic 

jams of Ben Harper. 

Musicianship: With a tight four-piece unit like 

this it is essential that each member brings something 

to the table in terms of commitment and 

individuality. That is exactly what the audience 

finds here. Mayaasa is a singer who knows no 

bounds when it comes to delivering emotional 

content and balancing it with the proper delivery. 

He brings physicality to his vocals which possess 

the timeless sensibility of Jackie Wilson and the 

urgency of Chuck D. Brooks is his right hand man, 

wielding a Les Paul with just the right amount of 

rock star flash, economy and panache. Bassist 

El Shabazz brandishes a mighty sound that is 

Blackmail: Self-described "ghetto rock" that keeps you guessing what will happen next. 

solid, with a technique that employs a seamless 

command of thumb popping and rolling pedal 

tones. Austin follows suit by locking in naturally 

with El Shabazz but also playing light, enabling 

the music to percolate and breathe. 

Performance: If ever there was a person that 

earned the title “frontman” it would be Mayaasa. 

Dressed in a bright red head scarf and what 

appeared to be an African dashiki with beads, 

the singer cut quite an impressive and colorful 

figure. He dove into the opening song “Running 

from the Sun,” with a passion and intensity that 

brought the previously sedate crowd to its feet. 

Guitarist Brooks voraciously provided ample 

vocal backups as well as several well-placed 

solos throughout the night. At the halfway mark 

in their set, and during one of those compelling 

guitar breaks, Mayaasa wanted to emphasize his 

reentry into a verse and, as he leapt back onto the 

stage from the dance floor, spun a bar chair like 

a top. El Shabazz and Austin seemed unfazed by 

this as they dug their rhythmic heels in and sent 

their own seismic spin throughout the venue. 

Summary: Blackmail have a raw kind of energy 

that is exciting. Their music literally keeps you 

on the edge of your seat—you don’t know what’s 

going to happen next. But the songs are tightly 

bound with memorable hooks and straightahead 

pacing. They are unpretentious and dedicated 

ambassadors of the Motor City, exuding world 

class excellence and an approachable charm and 

accessibility. 

——Eric A. Harabadian 

Eric Harabadian 

Red Again 

Westwood Brewing Company 


Contact: urigel@yahoo.com 

Web: http://facebook.com/redagainrocks 

The Players: Dayve Chaves, lead vocals; Uri 

Gelman, guitar; Cat Tate, bass, backup vocals; 

Roger Johnson, drums. 

Username: urigel 

Material: Grunge lives and Red Again prove it. 

Armed with a bevy of hard-hitting rock, like the 

fist-pump inducing “Coventry,” and the dark, 

brooding song “Salvation,” the band sound like 

a jam session between Alice In Chains and 

Chevelle. While the wailing guitars scream active 

rock radio, there’s potential here for alternative 

crossover as well. 

Musicianship: Taking center stage for Red 

Again is their dynamic lead singer, Dayve 

Chaves. While his strong vocal chops are impressive, 

it’s his ability to engage the crowd that 

really stands out. Whether encouraging fans to 

sing along or dancing in the audience, Chaves 

displays the kind of charisma rarely found in 

small club shows. Equally as magnetic is guitarist 

Uri Gelman, his soaring solos and flowing hair 

conjuring up images of a young Slash. Cat Tate 

and Roger Johnson round out the quartet. While 

both do respectable jobs keeping the rhythm 

section going, they tend to fall back in the 

shadows as Chaves and Gelman own the stage. 

Performance: Red Again set the tone quickly, 

starting their set with the high-octance rocker 

Red Again: Proving grunge still has a place in live music. 

“Time And Place.” Other standout tracks 

included “Disorder,” reminiscent of Core era 

Stone Temple Pilots, and the soaring, heartfelt 

“Riot In My Head.” A couple of originals got 

lost in the sound, as “The Right Way” and 

“Raised In Hell” fell flat when compared to their 

counterparts. Perhaps the best surprises came 

via the covers Red Again mixed into their set. 

In most cases, a grunge style band covering 

Pearl Jam would come across as nothing more 

than glorified karaoke. This was not the case, as 

Red Again knocked out an impressive version 

of “Even Flow” that would’ve had Eddie Vedder 

himself cheering. A head-banging cover of Al 

Green’s “Take Me To The River” proved to be 

an unexpected highlight, while their final song, 

a cover of Billy Idol’s “Rebel Yell,” had the crowd 

on their feet. 

Summary: Although the sound is raw at times, 

the talent within this band is undeniable. “Riot In 

My Head” will be featured in the movie Wedding 

Bells and Shotgun Shells, appearing at the 

Sundance Film Festival. With a little more focus 

toward improving their weaker songs, Red Again 

will find more placement opportunities, enabling 

the band to step up to the next level. 

——Corey Irwin 

Corey Irwin 


Download This Directory From Our Website 

www.musicconnection.com/amp 

26 th Annual Directory 

of A&R Reps 

Download This Directory From Our Website: www.musicconnection.com/amp 


Any music-maker who’s interested in landing a recording contract will want this list of exclusive record 

labels and talent scouts. Updated for 2013, all of the data featured in this directory has been supplied 

by the listees. Be sure to see our feature on record label talent scouts beginning on page 40. 

00:02:59 LLC 

PO Box 1251 

Culver City, CA 90232 

718-636-0259 

Web: www.259records.com 

E-mail: info@2minutes59.com 

1-2-3-4 GO! RECORDS 

420 40th St., Ste. #5 

Oakland, CA 94609 

510-985-0325 

E-mail: store@1234gorecords.com 

Web: www.1234gorecords.com 

Styles/Specialties: rock, punk 

4AD RECORDS 

2035 Hyperion Ave. 

Los Angeles, CA 90027 

E-mail: 4AD@4AD.com 

Web: www.4ad.com 

Roster: The National, Blonde Redhead, 

Deerhunter, Efterklang, St. Vincent, Bon Iver, 

The Big Pink, Camera Obscura. 

Styles/Specialties: rock/indie 

Additional locations: 

304 Hudson St. 

New York, NY 10013 

17-19 Alma Road, SW18 1AA, UK 

18TH & VINE RECORDS 

ALLEGRO MEDIA GROUP 

20048 N.E. San Rafael St. 

Portland, OR 97230 

503-491-8480 

Web: www.allegro-music.com 

Styles/Specialties: jazz, bebop, soul-jazz 

21ST CENTURY STUDIO 

Silver Lake, CA 

323-661-3130 

E-mail: 21stcenturystudio@earthlink.net 

Web: www.21stcenturystudio.com 

Styles/Specialties: rock, folk, ethnic, 

acoustic groups, books on tape, actor 

voice presentations 

Burt Levine, A&R 

A389 RECORDINGS 

P.O. Box 12058 

Baltimore, MD 21281 

E-mail: dom@a389records.com 

Web: www.a389records.com 

Styles/Specialties: hard rock, metal 

AARON RECORDS 

P.O. Box 428 

Portland, TN 37148 

615-325-3340 

E-mail: aaronrecords@aol.com 

Web: www.aaronrecords.com 

Jim Case, A&R 

ABET MUSIC 

411 E. Huntington Dr., Ste. 107-372 

Arcadia, CA 91006 

866-574-0275 

Web: www.abetmusic.com 

Styles/Specialties: electronica, acoustic, 

ambient, chill, rock, alternative, 

world and classical 

ABSOLUTE RECORDS 

P.O. Box 681853 

Franklin, TN 37068 

E-mail: info@absoluterecords.com 

Web: www.absoluterecords.com 

Styles/Specialties: All styles 

ACCIDENTAL MUZIK, INC. 

1312 N. Ave. 45 


323-316-4932 

E-mail: adammoseley@mac.com 

Web: www.accidentalmuzik.com, 

www.adammoseley.com 

Styles: alternative, latin, rock, acoustic 

*Accepts unsolicited material 

Adam Moseley, A&R 

ACQUISITIONS/KOSMIC MUSIC 

9100 Wilshire Blvd., Ste. 706 W. 

Beverly Hills, CA 90212 

310-777-0222 Fax 310-777-0278 

E-mail: info@kosmicmusic.com 

Web: www.kosmicmusic.com 

Styles/Specialties: new age, meditation 

ACTIVATE ENTERTAINMENT 

11054 Ventura Blvd., Ste. 333 

Studio City, CA 91604 

818-505-0669 

E-mail: jay@2activate.com 

Styles/Specialties: urban, rock & EDM 

James Arthur, A&R 

A-F RECORDS 

P.O. Box 71266 

Pittsburgh, PA 15213 

E-mail: press@a-frecords.com 

Web: www.a-frecords.com 

Styles/Specialties: punk rock 


Pat Thetic, A&R 

Chris Head, A&R 

Justin Sane, A&R 

AFTERMATH ENTERTAINMENT 

(Interscope Records) 

2220 Colorado Ave., 5th Fl. 

Santa Monica, CA 90404 

310-865-7642 Fax 310-865-7068 

Web: www.aftermathmusic.com 

E-mail: kirdis@aol.com, 

alicia.graham@umusic.com 

Styles/Specialties: hip-hop, rap, urban, 

contemporary R&B 

*No unsolicited material 

Andre Young (Dr Dre), President 

ALIAS RECORDS 

10153 1/2 Riverside Dr., Ste. #115 

Toluca Lake, CA 91602 

818-566-1034 

E-mail: accounts@aliasrecords.com, 

delight@aliasrecords.com 

Web: www.aliasrecords.com 

Styles/Specialties: indie-rock, singersongwriters, 

electronica 

Distribution: Morphius, Carrot Top, 

iTunes, IODA 


Delight Jenkins, Owner 

ALLIGATOR RECORDS 

P.O. Box 60234 

Chicago, IL 60660-0234 

773-973-7736 Fax 773-973-2088 

E-mail: info@allig.com 

Web: www.alligator.com 

Styles/Specialties: blues, roots, 

contemporary blues 

*Unsolicited material accepted. Maximum 

four songs per demo, seven-month backup in 

replying. Will not accept inquiries or phone calls 

regarding the receipt or status of submissions. 

Bruce Iglauer, President 

ALTERNATIVE TENTACLES 

P.O. Box 419092 

San Francisco, CA 94141 

510-596-8981 Fax 510-596-8982 

E-mail: jb@alternativetentacles.com 

Web: www.alternativetentacles.com 

Styles/Specialties: punk rock, spoken-word, 

underground 

*ONLY accept physical demos-audio CD, vinyl, 

DVD or cassette. No electronic demos or links 

to websites. 

Jello Biafra, A&R 

A&M (UMG) 



310-865-1000 

E-mail: a.ferguson@umusic.com 

Web: www.interscope.com 

Styles/Specialties: pop, rock, 

alternative, metal 


A&M/OCTONE RECORDS 

113 University Pl. 11th Fl. 


646-845-1700 

E-mail: info@octanerecords.com 

Web: www.amoctone.com 

Unsolicited material accepted. 

Please e-mail a link to your web or 

Myspace to demosubmision1@gmail.com 

(no attachments) 

James Diener, CEO/President 

AMATHUS MUSIC 

P.O. Box 95 

Hewlett, NY 11557 

E-mail: amathusmusic@aol.com 

Web: www.amathusmusic.com, 

www.myspace.com/amathusmusic 

Styles/Specialties: DanceMusic/Electronic/Pop 

Chris Panaghi, A&R 

AMERICAN EAGLE RECORDINGS 

13001 Dieterle Ln. 

St. Louis, MO 63127 

888-521-8146, 314-965-5648 

E-mail: info@americaneaglerecordings.com 

Web: www.americaneaglerecordings.com 

Styles/Specialties: Country 

AMERICAN LAUNDROMAT RECORDS 

P.O. Box 85 

Mystic, CT 06355 

860-460-8903 Fax 860-245-3669 

E-mail:americanlaundromat@hotmail.com 

Web: www.alr-music.com 

Styles/Specialties: indie rock, tribute 

compilations 

*We do not accept unsolicited materials 

Joseph H. Spadaro, Founder & President 

AMERICAN RECORDINGS (Republic 

Records/Universal) 

9830 Wilshire Blvd. 

Beverly Hills, CA 90212-1804 

310-272-2100 

E-mail: rico@americanrecordings.com, 

antony.bland@americanrecordings.com 

Web: www.americanrecordings.com 

Styles/Specialties: all genres 


Rick Rubin, President 

Dino Paredes, Vice President A&R 

Antony Bland, Director A&R 

Richard Csabai, A&R 

Rod Kukla, Sr. VP A&R 

ANTI- 

2798 Sunset Blvd. 


213-355-5000 

E-mail: info@epitaph.com 

Web: www.anti.com 

Styles/Specialties: indie rock 

Brett Gurewitz, A&R 

Andy Kaulkin, President 

API RECORDS 

P.O. Box 7041 

Watchung, NJ 07069 

E-mail: Apirecords@verizon.net 

Web: www.apirecords.com 

Styles/Specialties: Classical, Pop-Rock 

APPLESEED RECORDINGS 

P.O. Box 2593 

West Chester, PA 19380 

610-701-5755 

E-mail: jim@appleseedmusic.com 

Web: www.appleseedmusic.com 

Styles/Specialties: AC 

ARISTA NASHVILLE 

(See Sony Music Nashville) 

ASTRALWERKS 

A&R Department 

150 5th Ave. 


E-mail: feedback@astralwerks.net, 

glenn@astralweks.com 

Web: www.astralwerks.com 

Styles/Specialties: electronic, dance, 

alternative, techno 

*No Unsolicited material accepted. 

Glenn Mendlinger, GM 

ATLANTIC RECORDS 

(parent company Warner Bros. Records) 

3400 W. Olive Ave., 2nd Fl. 

Burbank, CA 91505 

818-238-6800 

E-mail: sam.riback@atlanticrecords.com 

Web: www.atlanticrecords.com 


Michael Caren, President, A&R 

Sam Riback, Sr. VP A&R 

Shawn Barron, Sr. Director, Urban 

Aaron Bay-Schuck, Sr. V.P., Urban 

Chris Morris, A&R 

ATLANTIC RECORDS GROUP 

1290 Ave. of the Americas 


212-707-2000 

E-mail: craig.kallman@atlanticrecords.com, 

julie.greenwald@atlanticrecords.com 

Web: www.atlanticrecords.com 


Craig Kallman, Chairman/CEO 

Julie Greenwald, Chairman/COO 

Pete Ganbarg, Head of A&R 

Michael Kyser, President, Black Music 

Darrale Jones, VP A&R, Urban 

Zvi Edelman, VP A&R 

Jeff Levin, Director A&R 

ATO RECORDS 

44 Wall St. 23rdNew York, NY 10005 

E-mail: info@atorecords.com 

Web: www.atorecords.com 

Styles/Specialties: All Genres: pop, rock, 

acoustic rock, indie 

*Demo Submissions will only be accepted 

by mail 

Will Botwin, President/CEO 

AUTHENTIK ARTISTS 

714-321-1471 

Web: www.authentikartists.com 

E-mail: Bob@authentikartists.com 

Scott Austin, CEO/Creative Director 

Bob Bradley, VP Arist Relations 

AWARE RECORDS 

1316 Sherman Ave., #215 

Evanston, IL 60201-4419 

847-424-2000 

E-mail: awareinfo@awaremusic.com 

Web: www.awarerecords.com 

Styles/Specialties: Rock 


Steve Smith, VP A&R 

BA DA BING! RECORDS 

181 Clermont Ave., Apt. 403 




Brooklyn, NY 11205 

718-360-5561 

E-mail: hello@badabingrecords.com 

Web: www.badabingrecords.com 

Styles/Specialties: Really weird stuff that can 

still make you cry 

BAD BOY RECORDS 

subsidiary of Warner Music Group 

Bad Boy World Entertainment Group 

1710 Broadway, 6th Fl. 


E-mail: scombs@badboyworldwide.com, 

hfelizor@badboyworldwide.com 

Web: www.facebook.com/badboyrecords 


Sean Combs, CEO 

Harve Pierre, President 

Hughes Skid Felizor, A&R 

Gwen Niles, VP A&R Admin 

BAR-NONE RECORDS 

P.O. Box 1704 

Hoboken, NJ 07030 

201-770-9090 

E-mail: emmy@bar-none.com 

Web: www.bar-none.com 

Styles/Specialties: indie rock 

*Unsolicited material accepted 

Glenn Morrow, Owner 

Emmy Black, A&R 

Mark Lipsitz, GM 

BARSUK RECORDS 

P.O. Box 22546 

Seattle, WA 98122 

E-mail: questions@barsuk.com 

Web: www.barsuk.com 

Distribution: ADA/WEA 

Styles/Specialties: Indie Rock 


Josh Rosenfeld, President 

BEGGARS GROUP 

(Also XL Recordings, Beggars Banquet, 4AD, 

Matador, Rough Trade, Young Turks) 

304 Hudson St. 7th Fl. 

New York, NY, 10013-1012 

212-995-5882 Fax 212-995-5883 

E-mail: banquet@beggars.com 

Web: www.beggarsgroupusa.com 

Styles/Specialties: indie-rock, pop, electronic 

and many more 

Roster: Badly Drawn Boy, Tindersticks, Mojave 

3, the National, Electrelane, Peaches, Natacha 

Atlas and more 

Distribution: ADA 

Additional location: 

2035 Hyperion Ave. 


213-341-4823 

BIELER BROS. RECORDS 

4100 N. Powerline Rd. #U5 

Pompano Beach, FL 

33073954-979-4781 Fax 954-979-9709 

E-mail: info@bielerbros.com 

Web: www.bielerbros.com 



Jason Bieler, Owner 

Aaron Bieler, Owner 

BIG DEAL RECORDS 

4658 Wortser Ave. 

Sherman Oaks, CA 91423 

818-789-4483 

Web: www.myspace.com/bdrecords 

Styles/Specialties: rock, pop, AC 

Distribution: Ryko 


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: algomes@bignoisenow.com 

Web: www.bignoisenow.com 

Styles/Specialties: artists have included 

Christina Aguilera, Katharine McPhee, Jim 

Brickman, Paul Doucette (Matchbox 20), Little 

Anthony & the Imperials, Bela Fleck, Patti 

Rothberg 

*Currently accepting demo submissions. 

Please call or e-mail first. 

Al Gomes, A&R 

BLACKHEART RECORDS 

636 Broadway 


212-353-9600 Fax 212-353-8300 

E-mail: blackheart@blackheart.com 

Web: www.blackheart.com 

Styles/Specialties: all styles 

*Unsolicited material accepted, attn: A&R Dept. 

Zander Wolff, A&R 

BLIND PIG RECORDS 

P.O. Box 2344 


415-550-6484 Fax 415-550-6485 

E-mail: info@blindpigrecords.com 

Web: www.blindpigrecords.com 

Styles/Specialties: blues 

Ed Chmelewski, A&R 

BLOODSHOT RECORDS 

3039 W. Irving Park Rd. 

Chicago, IL 60618 

773-604-5300 

E-mail: bshq@bloodshotrecords.com 

Web: www.bloodshotrecords.com 

Styles/Specialties: punk, country, soul, pop, 

bluegrass, blues and rock 

Rob Miller, Owner 

Nan Warshaw, Owner 

BLUE LADY RECORDS 

5042 Wilshire Blvd., Ste. 537 


323-296-2272 

E-mail: bmorrblues@aol.com 

Styles/Specialties: blues, jazz 

Roster: Barbara Morrison, Thurman Green, 

Buster Cooper, 

Al McKibbon, Phil Wright, Tommy Gryce 

Barbara Morrison, A&R 

BLUE NOTE (EMI) 

150 5th Ave., 6th Fl. 


212-786-8600 Fax 212-786-8666 

E-mail: info@bluenote.com 

Web: www.bluenote.com 

Styles/Specialties: jazz/pop 

Ian Ralfini, President 

BNA RECORDS (SONY MUSIC) 

1400 18th Ave. St. 

Nashville, TN 37212 

615-301-4300 Fax 615-301-4347 

E-mail: jim.catino@sonybmg.cm 

Web: www.bnarecords.com 


*no unsolicited material 

Jim Catino, Sr. Director A&R 

BOMP/ALIVE NATURALSOUND RECORDS 

919 Isabel, Unit G 


E-mail: naturalsound@alivenergy.com 

Web: www.bomp.com, 

www.alive-totalenergy.com 

Roster: the Black Keys, Two Gallants, Buffalo 

Killers, Brian Jonestown Massacre and more 

Distribution: Lumberjack Mordam Music Grp. 

*Unsolicited material accepted. Do not contact 

us, we will contact you if we dig what we hear! 

Patrick Boissel, A&R 

BURNSIDE RECORDS 

20048 N.E. San Rafael St. 


800-288-2007 ext 2049 

E-mail: info@burnsiderecords.com 

Web: www.burnsiderecords.com 

Styles/Specialties: blues, Americana, folk 

CAPITOL MUSIC GROUP 

(EMI parent company) 

1750 N. Vine St., 9th Fl. 

Hollywood, CA 90028 

323-462 6252 

Web: www.capitolrecords.com 


Alex Luke, Exec VP A&R 

Michael Howe, VP A&R 

Steve Prudholme, Director A&R 

Kim Stephens, A&R 

CAPITOL MUSIC GROUP - NEW YORK 


150 5th Ave., 3rd Fl. 


212-786-8200 



Dan McCarroll, President 

Alex Shenitsky, Director A&R 

Ronette Bowi, Dir. A&R Admin. 

Mollie Moore, A&R 

CAPITOL RECORDS NASHVILLE 


3322 W. End Ave., 11th Fl. 


615-269-2000 

E-mail: a&r@emicap.com 


Autumn House, VP A&R 

Melissa Spillman, Manager A&R 

Betsy Morley, Sr. Dir. A&R Admin. 

CASTLE RECORDS 

19 Music Sq. W., Ste. U-V-W 

Button Floor Rear of Building 

Nashville TN 37203 

615-401-7111 615-942-5408 

E-mail: EdRussell@castlerecords.com 

Web: www.castlerecords.com 


*We accept unsolicited material. See website 

for demo submission 

Ed Russell, President 

Debbie Wallin, Dir. of Publishing 

Joe Khoury, A&R 

Ben Wright, A&R 

CENTURY MEDIA RECORDS 

2323 W. El Segundo Blvd. 

Hawthorne, CA 90250 

323-418-1400 Fax 323-418-0118 

E-mail: mail@centurymedia.com 

Web: www.centurymedia.com 

Styles/Specialties: heavy metal, hard rock 

*Unsolicited material accepted, 

see web for details. 

Paul Gorgano, A&R 

CEXTON RECORDS 

P.O. Box 80187 

Rancho Santa Margarita, CA 92688 

917-570-6664 

Offices in CA and NYC 

E-mail: johncexton@aol.com 

Web: www.cexton.com, www.johnanello.com 

Styles/Specialties: jazz, big band, swing and 

Italian-American artists 

Distribution: Indie, point of purchase, Internet, 

specialty stores 

John Anello, Jr., A&R 

CHASE MUSIC GROUP 

P.O. Box 11178 

Glendale, CA 91226 

818-507-4240 Fax 818-230-9876 

E-mail: cmgrec@earthlink.net 

Contact: Bill Stilfield 

Styles/Specialties: jazz 

Distribution: City Hall Records, Traditions Alive 


CHERRYTREE RECORDS (Interscope) 

2220 Colorado Ave. 

Santa Monica, CA 90404310 865-1000 

E-mail: seeds@cherrytreerecords.com 

Web: www.cherrytreerecords.com, 

www.cherrytreedom.com 

Styles/Specialties: All genre styles considered 

Roster: Feist, Ellie Goulding, Sting, LMFAO, 

Robyn, Far East Movement, La Roux, Michael 

Kiwanuka, Deap Vally, Jessie Ware, Colette 

Carr, Willy Moon, Natalia Kills, Marianas 

Trench, Matthew Koma, Tokio Hotel, Nero 

Martin Kierszenbaum, Chairman 

Andrea Ruffalo, GM 

Scott Enright, A&R 

Kelvin Chu, A&R 

Ben Gordon, A&R 

Jody Klein, A&R 

CLEOPATRA RECORDS 

11041 Santa Monica Blvd., PMB 703 


310-477-4000 

Web: www.cleopatrarecords.com 

Styles/Specialties: gothic, rock, metal, rap, 

R&B, dance, classics, soundtracks 

Brian Perera, President 

Tim Yasul, VP/GM 

CLICKPOP RECORDS 

P.O. Box 5765 

Bellingham, WA 98227 

E-mail: dave@clickpoprecords.com 

Web: www.clickpoprecords.com 

Styles/Specialties: folk, metal, pop, punk, 

electronic, ambient noise and more 

Dave Richards, A&R 

CLUBSTREAM LABEL GROUP 

Gothenburg Sweden 

+46-(0) 708 579 753 

E-mail: h.ludvigson@substream.se 

Web: www.clubstream.se 

Style/Specialties: techno, all types of 

electronic dance music 

*Accepts unsolicited material. Do not send 

rock music, reggae or psy-trance. See 

website for instructions 

Hakan Ludvigson, A&R Manager 

CMH RECORDS 

2898 Rowena Ave. 


323-663-8073 

Web: www.cmhrecords.com 

Styles/Specialties: country, bluegrass, electric, 

children’s, Christmas 

COAST RECORDS 

2530 Atlantic Ave., Ste. C 

Long Beach, CA 90806 

310-325-2800 

E-mail: coast@logginspromotion.com 

Web: www.logginspromotion.com, 

www.myspace.com/paulloggins 



Paul Loggins, A&R 

COLUMBIA RECORDS - LOS ANGELES 

(parent company Sony Music) 



310-272-2783 

E-mail: andy.villalpando.sme@sonymusic.com 

Web: www.columbiarecords.com 


Ashley Newton, Pres. A&R 

Mark Williams, VP A&R 

Maria Egan, Dir. A&R 

JR Lindsey, Dir. A&R 

COLUMBIA RECORDS - NEW YORK 

550 Madison Ave., 24th Fl. 


E-mail: john.doelp@sonymusic.com 

Web: www.columbiarecords.com 


John Doelp, Sr. V.P., A&R Operations 

Haley Wetheimer, A&R Manager 

COMPASS RECORDS 

916 19th Ave. S. 


615-320-7672 800-757-2277 

E-mail: info@compassrecords.com 

Web: www.compassrecords.com 

Styles/Specialties: celtic, roots 

Alison Brown, A&R 

Gary West, A&R 

CONCORD MUSIC GROUP 

100 N. Crescent Dr. 


310-385-4455 

E-mail: info@concordrecords.com 

Web: www.concordmusicgroup.com 


John Burk, Executive VP, 

A&RNick Phillips, VP, 

Jazz & Catalog A&R 

Chris Dunn, Senior Director, A&R 

Joe McEwen, Vice President, A&R 

CRANK! A RECORD COMPANY 



E-mail: fan@crankthis.com 

Web: www.crankthis.com 

Styles/Specialties: “melodic-indie 

hard-pop-rock” 

Distribution: Nail 

*Not accepting any new demos at this point 

Jeff Matlow, A&R 

CURB RECORDS 

48 Music Sq. E. 


615-321-5080 Fax 615-327-1964 

E-mail: jozier@curb.com 

Web: www.curb.com 

Styles/Specialties: country, pop, gospel 


John Ozier, VP & A&R 

Bryan Stewart, VP A&R 

DANGERBIRD RECORDS 



323-665-1144 

E-mail: info@dangerbirdrecords.com 

Web: www.dangerbirdrecords.com 

Roster: Silversun Pickups, Sea Wolf, Darker 

My Love, the One AM Radio, Eulogies 

*We do not accept unsolicited demos 

Jenny Sperandeo, GM 

Peter Walker, Pres. 

DECAYDANCE MUSIC 

Tampa, FL 33601 

E-mail: info@decaydance.com 

Web: www.decaydance.com 

See website about demo submission 

DEEP ELM RECORDS 

210 N. Church St., Ste. 2502 

January 2013 

www.musicconnection.com 

57


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(800) 233-8346 · (714) 897-6766 

Charlotte, NC 28202 

702-502-6599 

E-mail: info@deepelm.com 

Web: www.deepelm.com 

Styles/Specialties: indie rock, emo, emotronic, punk, pop, 

atmospheric, slowcore, alt-country, instrumental 

John Szuch, A&R 

DEEP SOUTH ENTERTAINMENT 

P.O. Box 17737 

Raleigh, NC 27619 

919-844-1515 

E-mail: info@deepsouthentertainment.com 

Web: www.deepsouthentertainment.com 

Styles/Specialties: rock 

See website for demo submission policy 

Andy Martin, Co-owner 

Dave Rose, Co-owner 

DELICIOUS VINYL RECORDS 



323-465-2700 Fax 323-465-8926 

E-mail: contact@deliciousvinyl.com 

Web: www.deliciousvinyl.com 


Michael Ross, A&R/Owner 

Rick Ross, A&R 

DELMARK RECORDS 

4121 N. Rockwell 


773-539-5001 Fax 773-539-5004 

E-mail: delmark@delmark.com 

Web: www.delmark.com 

Styles/Specialties: blues and jazz 

Bob Koester, Sr., A&R 

Steve Wagner, A&R 

DISCHORD RECORDS 

3819 Beecher St. N.W. 

Washington, DC 20007 

703-351-7507 

E-mail: dischord@dischord.com 

Web: dischord.com 

Styles/Specialties: punk rock 

DOMO MUSIC GROUP 

11340 W. Olympic Blvd., Ste. 270 

Los Angeles, 90064 

800-899-1000, 310-966-4414 

Web: www.domomusicgroup.com 

Styles/Specialties: new age, world music, 

rock, soundtrack, ambient, electronic 

Elichi Naito, CEO/President 

Dino Malito, VP 

D’MAR ENTERTAINMENT, INC. 

7723 Tylers Place Blvd., Ste. 275 

West Chester, OH 45069 

513-617-2392 

E-mail: dmarentertainment@fuse.net 

Web: www.dmarentertainment.com 

Styles/Specialities: smooth jazz, R&B, gospel 


Sheila A. Jordan, A&R 

DRAG CITY RECORDS 

P. O. Box 476867 


312-455-1015 Fax 312-455-1057 

E-mail: press@dragcity.com 

Web: www.dragcity.com 

Styles/Specialties: rock, hard rock, experimental 

DUAL TONE RECORDS 

203 N 11th St., Ste. B 


615-320-0620 Fax 615-320-0692 

E-mail: info@dualtone.com 

Web: www.dualtone.com 

Styles/Specialties: country, rock 

E1 MUSIC GROUP 

22 Harbor Park Dr. 

Port Washington, NY 11050 

516-484-1000 

Alan Grunblatt, President 

E-mail: ala.grunblatt@kochent.com 

Web: www.eonemusic.com 

EARTH MUSIC PRODUCTIONS, LLC 

P.O. Box 72 

Litchfield, CT 06759 

860-567 8796 

E-mail: info@livingmusic.com 

Web: www.livingmusic.com 

Styles/Specialties: new age 

ELEKTRA 

(Atlantic Records) 

3400 West Olive Ave. 


323-466-0103 

E-mail: michael.caren@atlanticrecords.com 


Web: www.elektra.com 


EMI CHRISTIAN MUSIC GROUP (CMG) 

101 Winners Cir. 

Brentwood, TN 27027 

615-371-4400 

Web: www.emicmgpublishing.com 


EMI MUSIC GROUP (SONY BMG) 

150 5th Ave. 


212-786-8000 

Web: www.emigroup.com 



104 W. 29th St. 

New York, NY 

212-886-7500 

1750 Vine St. 


323-462-6251 

EMPEROR JONES RECORDS 

P.O. Box 4730 

Austin, TX 78765 

E-mail: brutus@emperorjones.com 

Web: www.emperorjones.com 

Styles/Specialties: folk, indie, alt. 

EPIC RECORDS 



Web: www.epicrecords.com, 

www.sonymusic.com/labels 


Mike Flynn, Sr. Dir. A&R 

EPIC RECORDS GROUP 

550 Madison Ave. 22nd Fl. 


212-833-8000 

Web: www.epicrecords.com 


Farra Matthews, VP A&R 




Jim Edmunds, A&R 

EPITAPH /ASYLYM (WMG) 



213-413-7353 

E-mail: sue@epitaph.com 

Web: www.epitaph.com 

Styles/Specialties: alternative rock, post-hardcore, 

punk rock, hip hop, metalcore 

*Accepts unsolicited material. See website for instructions 

Brett Gurewitz, Owner 

EQUAL VISION 

P.O. Box 38202 

Albany, NY 12203-8202 

E-mail: music@equalvision.com 

Web: www.equalvision.com 

Steve Reddy, President 

Dan Sandshaw, GM/A&R 

EVENFLOW RECORDS 

P.O. Box 9175 

Marietta, GA 30065-2175 

404-617-9285 

E-mail: eliwatts@evenflowrecords.com 

Web: www.evenflowrecords.com 


Eli Watts, CEO & Founder 

FANTASY RECORDS 

100 N. Crescent Dr., Ste. 275 


310-385-4455 

E-mail: rsaslow@concordrecords.com 

Web: www.concordmusicgroup.com 


Rob Saslow, VP A&R Development 

FAT POSSUM RECORDS 

P.O. Box 1923 

Oxford, MS 38655 

662-234-2828 Fax 662-234-2899 

E-mail: matthew@fatpossum.com 

Web: www.fatpossum.com 

Styles/Specialties: indie 


Matthew Johnson, President 

FAT WRECK CHORDS 

2196 Palou Ave. 





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59



Web: www.fatwreck.com 

Styles/Specialties: punk 

*Send demos to: Asian Man Records ATTN: 

Mike, PO Box 35585, Monte Soreno, CA 95030 

FAVORED NATIONS RECORDS 


Web: www.favorednations.com 

Styles/Specialties: all styles welcome 

FEARLESS RECORDS 

16400 Pacific Coast Highway #204 

Huntington Beach, CA 92683 

562-592-3438 

E-mail: bob@fearlessrecords.com 

Web: www.fearlessrecords.com 

Styles/Specialties: pop punk, punk rock, emo, 

alternative rock, post-hardcore 

*Accepts unsolicited material. See website for 

mailing instructions 

Bob Becker, President/A&R 

FERRET MUSIC 

61 Highstown Rd. 

West Windsor, NJ 08550 

609-799-2424 

E-mail: ferretstyle@ferretstyle.com 

Web: www.ferretstyle.com 

FERVOR RECORDS 

1810 W. Northern Ave., Ste. A-9 

Box 186 

Phoenix, AZ 85021 

602-595-3582 Fax 602-595-3590 

E-mail: jeff_freundlich@gmail.com 

Web: www.fervor-records.com 

Styles/Specialties: vintage, new indie 

Jeff Freundlich, President 

FONOVISA 

8200 N.W. 52nd Terr., 2nd Fl. 

Miami, FL 33166 

Web: www.universalmusica.com/fonovisa 


FOODCHAIN RECORDS 

6464 Sunset Blvd., Ste. 920 


323-957-7900 Fax 323-957-7911 

E-mail: info@foodchainrecords.com 

Web: www.foodchainrecords.com 

Roster: Supagroup, Minibar, Coyote Shivers, 

Betty Blowtorch, Dear John Letters, and more 

Style/Specialties: hard rock, punk 

*Please submit demos by mail only 

Scott Milano, Owner 

Kelly Spencer, VP A&R 

FRONTIER RECORDS 

P.O. Box 22 

Sun Valley, CA 91353 

818-759-8279 

E-mail: info@frontierrecords.com 

Web: www.frontierrecords.com 

Styles/Specialties: hardcore punk, OC punk, 

punk-pop, alternative rock 

*No unsolicited material. 

FUELED BY RAMEN 

1290 Ave of the Americas, 28th Fl. 


Web: www.fueledbyramen 

Mike Easterlin, GM 

GEARHEAD RECORDS 

P.O. Box 2234 

Elk Grove, CA 95759 

530-750-7900 

E-mail: info@gearheadrecords.com 

Web: www.gearheadrecords.com 

Styles/Specialties: rock n’ roll, outlaw country, 

punk, garage, rockabilly and sleaze metal 

Michelle Haunold, Pres. 


GEFFEN 

See Interscope 

GLASSNOTE RECORDS 

770 Lexington Ave., 12th Fl. 


646-214-6000 Fax 646-237-2711 

E-mail: dglass@glassnotemusic.com 

Web: www.glassnotemusic.com 

Daniel Glass, President 

GLASSNOTE RECORDS - L.A. 



310-272-2412 

Web: www.glassnotemusic.com 

Marc Nicolas, A&R 

GLOBAL CREATIVE GROUP 

4757 E. Greenway Rd., Ste. 107B-PMB180 


800-884-4553 

E-mail: info@globalcreativegroup.com 

Web: www.gcgmusic.com 

Styles/Specialties: pop, rock, world 

Distribution: Redeye 


Ian Faith, CEO 

GOGIRLSMUSIC.COM 

P.O. Box 2628 

Bellaire, TX 77402 

E-mail: gogogirlsmusic@gmail.com 

Web: www.gogirlsmusic.com 

Styles/Specialties: all genres 

*The oldest and largest online community of 

indie women in music 

Madalyn Sklar, A&R 

GO-KUSTOM REKORDS 

P.O. Box 77750 


E-mail: gokustom@gmail.com 

Web: www.go-kustom.com 

Styles/Specialties: surf, psychobilly, hot rod, 

lo-fi, post-punk, electronica 

D.A. Sebasstian, A&R 

GREEN LINNET 

916 19th Ave. S. 


800-757-2277, 615-320-7672 Fax 615-320-7378 

E-mail: info@greenlinnet.com 

Web: www.greenlinnet.com 

Styles/Specialties: celtic, world music 

Garry West, A&R 

HACIENDA RECORDS 

1236 S. Staple 

Corpus Christi, TX 78404 

361-882-7066 

E-mail: annie.garcia@haciendarecords.com 

Web: www.haciendarecords.com 

Styles/Specialties: Mexicana, Ranchito, gospel 

HEADLINER RECORDS 

102 N.E. 2nd St. 

Boca Raton, FL 33432 

E-mail: georgetobinmusic@aol.com 

Web: www.headlinerrecords.com 

Styles/Specialties: pop, pop alternative, R&B, 

always looking for new opportunities and great 

singers and writers 

*Unsolicited material welcome 

George Tobin, owner 

HOLLYWOOD RECORDS – LOS ANGELES 

500 S. Buena Vista St., Old Team Bldg. 


818-560-7084 Fax 818-841-5140 

E-mail: geoffrey.weiss@disney.com 

Web: www.hollywoodrecords.com 

*No unsolicited material, No MP3s 

Geoffrey Weiss, Sr. VP A&R 

Jon Lind, Sr. VP A&R 


825 8th Ave., 30th Fl. 


212-445-3309 

HOLOGRAPHIC RECORDS 

700 W. Pete Rose Way 

Lobby B, 3rd Fl., Ste. 390 PMB 18 

Cincinnati, OH 45203 

513-442-3886 

E-mail: info@holographicrecords.com 

Web: www.holographicrecords.com 

Styles/Specialties: fusion, jazz 

Brandon Wheeler, A&R 

HOPELESS/SUB CITY 

P.O. Box 7495 

Van Nuys, CA 91409 

E-mail: info@hopelessrecords.com 

Web: www.hopelessrecords.com 

Louis Posen, Owner 

HYDRAHEAD RECORDS 

P.O. Box 291430 


E-mail: info@hydrahead.com 

Web: www.hydrahead.com/v3 

Styles/Specialties: hard rock, metal, 

experimental 


IAMSOUND RECORDS 

183 N. Martel Ave., Ste. 270 


E-mail: niki@iamsoundrecords.com 

Web: www.iamsoundrecords.com 

Roster: Bleeding Knees Club, The Black 

Ghosts, Charli XCX, Florence and The Machine 

Contact: Niki Roberton, Founder 

Styles/Specialties: indie rock, electro 

ICEHOUSE RECORDS 

Memphis, TN 38133 

800-346-0723 

E-mail: jwphillips@selectohits.com 

Web: www.icehouserecords.com 

Styles/Specialties: roots, jazz, blues 

INO RECORDS 

210 Jamestown Pkwy., Ste. 100 

Brentwood, TN 37027 

E-mail: info@inorecords.com 

Web: http://www.inorecords.com/v2/contact.php 

Styles/Specialties: Christian 

*Accepts unsolicited material. See website for 

submission 

INTERSCOPE-GEFFEN-A&M-UMG 



310-865-1000 

E-mail: ben.gordon@umusic.com 

Web: www.interscoperecords.com 


Ben Gordon, A&R 

Jeff Sosnow, A&R 

INVISIBLE RECORDS 

3319 South Lituanica Ave. 


773-523-8316 

E-mail: info@invisiblerecords.com 

Web: www.invisiblerecords.com, www. 

facebook.com/invisibleRecords 

Styles/Specialties: goth, metal, rock 

IPECAC RECORDINGS 

E-mail: info@ipecac.com 

Web: www.ipecac.com 

Distribution: Fontana 

Roster: Fantomas, Melvins Big Band, Northern 

State, Dalek, Skeleton Key, Peeping Tom, 

Dub Trio 

Greg Werckman, A&R 

IRONWORKS MUSIC 

18653 Ventura Blvd. #724 

Ventura, CA 91356 

E-mail: jenn.johnson@ironworksmusic.com 

Web: www.ironworksmusic.com 

Styles/Specialties: a full facility entertainment 

company 

Jenn Johnson, A&R 


ISLAND DEF JAM MUSIC GROUP 

LOS ANGELES - UMG 



310-865-5000 

Web: www.islandrecords.com 


Chris Anokute, Senior VP of A&R 

ISLAND DEF JAM MUSIC GROUP 

NEW YORK - UMG 

825 8th Ave., 29th Fl. 


212-333-8000 Fax 212-603-7654 

E-mail: karen.kwak@umusic.com 

Web: www.islanddefjam.com 

Styles/Specialties: hip hop, rap, urban, R&B 


Steve Bartels, President 

Karen Kwak, Sr. VP of A&R 

JAGGO RECORDS, LLC 

10061 Riverside Dr., Ste. 718 

Toluca Lake, CA 91602 

323-850-1819 

E-mail: jaggo@jaggo.com 

Web: www.jaggo.com 

Styles/Specialties: pop, rock, jazz, 

R&B, hip-hop, soul, World music 


JAZZ & CLASSICS EMI RECORDS 

Blue Note, Narada Jazz, Metro Blue 

150 5th Ave. 6th Fl. 


E-mail: emiclassicsus@emimusic.com 

Web: www.bluenote.com, www.angelrecords. 

com, www.manhattanrecords.com 

Bruce Lundvall, President/CEO, Blue Note 

Eli Wolf, VP A&R Blue Note 

J CURVE RECORDS 

P.O. Box 43209 


513-272-8004 

E-mail: jcurverecords@hotmail.com 

Post a free ad seeking musicians 

Find jobs with working bands 

Thousands have used 

us since 1969! 

MusiciansContact.com 

818-888-7879 

Sterling Howard 

Founder/Owner 




Web: www.jcurverecords.com 

Styles/Specialties: jazz, Latin, blues 

K RECORDS 

P.O. Box 7154 

Olympia, WA 98507 

360-786-1594 

E-mail: info@krecs.com 

Web: www.krecs.com 

Roster: Kimya Dawson, the Curious Mystery, 

the Blackouts 

Calvin Johnson, Owner 

KEMADO RECORDS 

87 Guernsey St. 


E-mail: info@kemado.com 

Web: www.kemado.com 



KILL ROCK STARS 

107 S.E. Washington St. Ste. 155 


E-mail: krs@killrockstars.com 

Web: www.killrockstars.com 

Styles/Specialties: punk, indie 

KOCH ENTERTAINMENT/ 

EONE MUSIC GROUP 



212-353-8800 

Web: www.e1music.us 

KRIAN MUSIC GROUP 

224 W. 30th St., Ste. 1007 

New York, NY 10001-1077 

212-967-3548 

E-mail: pr@krianmusicgroup.com 

Web: www.krianmusicgroup.com 

Frank Blasucci, GM 

LITTLE DOG RECORDS 

1146 N. Central Ave. #107 


818-557-1595 

E-mail: littledogrecords@gmail.com 

Web: www.littledogrecords.com 

Styles/Specialties: Americana, roots rock, 

singer-songwriter, country 

Roster: Curt Kirkwood, Moot Davis, Pete 

Anderson, Chris Jones, the Blazers, Adam 

Hood 

LITTLE FISH RECORDS 

P.O. Box 19164 

Cleveland, OH 44119 

216-481-1634 

E-mail: info@littlefishrecords.com 

Web: www.littlefishrecords.com 

Styles/Specialties: roots reggae, jam band, 

smooth jazz, pop 

Benjamin Boyle, 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: Floyd@locoentertainment.com 

Web: www.lizardsunentertainment.com, 

www.cliffmorrisonandthelizardsunband.com 

Roster: Jayo Felony 

Style/Specialties: hip-hop, rap 

A&R Contact: Loco Entertainment 

www.facebook.com/floydbocox.com 

LOST HIGHWAY RECORDS 

See UMG Nashville 

401 Commerce St., Ste. 1100 


615-524-7500 

E-mail: kim.buie@umusic.com 

Web: www.losthighwayrecords.com 

Styles/Specialties: rock, country, folk 

*No unsolicited material accepted 

Luke Lewis, Chairman 

LOVECAT MUSIC 

P.O.Box 548, Ansonia Station 


Fax 646-304-7391 

E-mail: lovecatmusic@gmail.com 

Web: www.lovecatmusic.com 

Styles/Specialties: rock, pop, R&B, Latin, 

world, dance, jazz 


LOVEPUMP UNITED 

61 Greenpoint Ave., #508 


347-469-0627 

E-mail: info@lovepumpunited.com 

Web: www.lpurecords.com/v1/index.php 

Roster: Glitter Pals, Genghis Tron 

Distribution: Secretly Canadian Distro 

Styles/Specialties: indie, electro 

LUAKA BOP 

195 Chrystie, Ste. 901F 


212-624-1469 

E-mail: iwasthinking@luakabop.com 

Web: www.luakabop.com 

Styles/Specialties: pop, world 

*No unsolicited materials. 

MAGNA CARTA RECORDS 

A-1 Country Club Rd. 

East Rochester, NY 14445 

585-381-5224 

E-mail: info@magnacarta.net 

Web: www.magnacarta.net 

Styles/Specialties: progressive metal 

*See website for Demo Submission 

Peter Morticelli, A&R 

MAJOR LABEL SCOUT 

(EMI Music) 

345 7th Ave., 24th Fl. 

New York, NY 10001-5030 

Web: www.majorlabelscout.com 

Ken Krongard, Owner 

MALACO RECORDS 

3023 W. Northside Dr. 

Jackson, MS 39213 

601-982-4522 

E-mail: malaco@malaco.com 

Web: www.malaco.com 

Styles/Specialties: gospel, R&B, spoken word, 

jazz, blues, soul 


Tommy Couch, Jr., Pres./R&B A&R 

Wolf Stephenson, VP of A&R 

DA Johnson, Dir. Gospel 

Larry Jones, R&B Promotions Director 

MANIFESTO RECORDS 

8340 Melrose Ave. 

Los Angeles, CA 90069-5420 

323-655-2780 Fax 323-655-3333 

E-mail: info@manifesto.com 

Web: www.manifesto.com 

Contact: Evan Cohen (Business Affairs) 

Styles/Specialties: rock, indie, Brit-pop, punk 

Roster: Dead Kennedys, Wedding Present, 

Cinerama, Tom Waits, Tim Buckley, 

Lilys, Cranes 

Distribution: Navarre, Carrot Top, Choke, 

Darla, Sound of California, Scorpio, Cobraside, 

Morpheus, Get Hip, F.A.B., Scratch 


MATADOR RECORDS 

304 Hudson St., 7th Fl. 


212-995-5882 Fax 212-995-5883 

Web: www.matadorrecords.com 


*No Unsolicited Material 

MAXJAZZ 

115 W. Lockwood Ave. 


800-875-8331 

E-mail: info@maxjazz.com 

Web: www.maxjazz.com 


Richard McDonnell, President 

MEGA TRUTH RECORDS 

P.O. Box 4988 


Contact: Jon Barewww 

E-mail: jonbare@aol.com 

Web: www.jonbare.net/ 

Styles/Specialties: blues and rock 

*No phone calls please 

MENTAL RECORDS 

2640 E. Barnett Rd., Ste. E-331 

Medford, OR 97504 

Web: www.mentalrecords.net, 

www.myspace.com/mentalrecords 

Styles/Specialties: alternative, punk 

Doug Hill, A&R 

MERGE RECORDS 

Durham, NC 

January 2013 


61



E-mail: merge@mergerecords.com 

Web: www.mergerecords.com 

Styles/Specialties: alt-rock 

Roster: Arcade Fire, others 

MEROKE SKY RECORDS 

Van Nuys, CA 

818-780-5525 

E-mail: merokeskyrecords@aol.com 

Web: www.merokeskyrecords.com 

Styles/Specialties: folk/rock 

Roster: Barry Goldberg, Joe Hajek, Alex Del 

Zoppo, The Conley’s, Tony Kaye, Asa Danekind 

Mike Giangreco, A&R 

METAL BLADE RECORDS 

5737 Kanan Rd. #143 

Agoura Hills, CA 91301 

818-597-1964 Fax 818-597-9366 

E-mail: metalblade@metalblade.com 

Web: www.metalblade.com 

Styles/Specialties: heavy metal, progressive, 

rock 

*See website for Demo Submission 

Brian Slagel, President 


Metal Blade Records GMBH 

Marstallstrasse 14 

73033 Goppingen, Germany 

METROPOLIS RECORDS 

P.O. Box 974 

Media, PA 19063 

610-595-9940 

E-mail: demo@metropolis-records.com, info@ 

metropolis-records.com 

Web: www.metropolis-records.com 

Styles/Specialties: electronic, industrial, goth 

*Accepts unsolicited material by CD or CD-R 

MIGHTY TIGER RECORDS/PAPER GARDEN 

P.O. Box 11178 


818-507-4240 Fax 818-230-9876 

E-mail: cmgrec@earthlink.net 

Styles/Specialties: blues 

Distribution: City Hall Records, 

Traditions Alive 

Bill Stilfield, A&R 

MILAN ENTERTAINMENT 


E-mail: jc.chamboredon@milanrecords.com 

Web: www.milanrecords.com 

Styles/Specialties: soundtracks, 

electronic, world 

MINT RECORDS 

P.O. Box 3613, M.P.O.Vancouver, BC Canada 

V6B 3Y6 

604-669-MINT 

E-mail: info@mintrecs.com, 

mint@mintrecs.com 

Web: www.mintrecs.com 

Roster: The Organ, Neko Case, The New 

Pornographers, cub, Lou Barlow, The Sadies, 

Piano, The Buttless Chaps, Pansy Division, the 

Smugglers 

Styles/Specialties: indie 

*Send demos via mail 

MORPHIUS RECORDS 

100 E. 23rd St. 


410-662-0112 

E-mail: info@morphius.com 

Web: www.morphius.com 

Styles/Specialties: rock, punk, hip-hop, 

experimental 

Simeon Walnunas, Press/PR 

MOTION CITY RECORDS 

1424 4th St., #604 


310-434-1272 

E-mail: editor@motioncity.com 

Web: www.motioncity.com 

Styles/Specialties: alternative rock 

Roster: Velvet, Voodoo, Brent Fraser, 10 

Pound Troy, UFO Bro, Drag, Wendy Bucklew 

Distribution: Hep Cat 


MOTORIZED MUSIC GROUP 

P.O. Box 3154 


818-548-7989 

E-mail: info@motorizedmusic.com 

Web: www.motorizedmusic.com 

Styles/Specialties: all 

Randy Nicklaus, A&R (818-548-7989) 

Laure Dunham, A&R (818-548-7984) 

MOTOWN 



212-373-0750 

Web: www.motown.com 



2220 Colorado Ave. 3rd Fl. 


Web: www.motown.com 

MOUNTAIN APPLE COMPANY, THE 

1330 Ala Moana Blvd., Ste. 001 

Honolulu, HI 96814 

800-882-7088, 808-597-1888 

Fax 808-597-1151 

E-mail: lisa@mountainapplecompany.com 

Web: www.mountainapplecompany.com 

Styles/Specialties: traditional & contemporary 

Hawaiian 

MRG RECORDINGS 


310-629-9782 

E-mail: info@mrgrecordings.com, 

submission@mrgrecordings.com 

Web: www.mrgrecordings.com 

Styles/Specialties: rock, 

electronic, ambient, folk 

NASHVILLE UNDERGROUND 

P.O. Box 218138 


615-673-7215 

E-mail: themole@artistsunderground.com 

Web: www.nashville-underground.com 

Styles/Specialties: country, songwriters 

NATIONAL GEOGRAPHIC MUSIC 

Web: http://natgeomusic.net 

E-mail: gregwbrmusic@yahoo.com 

Jeffre B. Clyburn, VP 

NETTWERK RECORDS 

1650 W. 2nd Ave. 

Vancouver, BC V6J 1H4 

604-654-2929 Fax 604-654-1993 

E-mail: info@nettwerk.com 

Web: www.nettwerk.com 


Mark Jowett, VP A&R International 


6525 W Sunset Blvd., Ste. 800 


323-301-4200, Fax 323-301-4199 

345 7th Ave., Ste. 1101 


212-760-1540 Fax 212-760-9719 

33 Richdale Ave., Ste. 121 

Cambridge, MA 02140 

617-497-8200 Fax 497-9988 

NEW PANTS PUBLISHING INC. & OLD 

PANTS PUBLISHING INC. 

102 E. Pikes Peak Ave., Ste. 200 

Colorado Springs, CO 80903 

719-632-0227 Fax 719-634-2274 

E-mail: rac@crlr.net 

Web: www.newpants.com, www.oldpants.com 

Styles/Specialties: all genre styles considered 

Roster: Stephanie Aramburo, Chad Steele, 

C. Lee Clarke, Tech T, James Becker, Kathy 

Watson, Lisa Bigwood, George Montalbano, 

Silence, Sherwin Greenwood, Joel Diehl, John 

Ellis and Rocky Shaw. 

*Unsolicited material thru management or 

lawyer only. Please call or e-mail before 

submitting. 

Robert A. Case, A&R 

NEW WEST RECORDS 

9215 Olympic Blvd. 


310-246-5766 

E-mail: michael@sugaroo.com 

Web: www.newwestrecords.com 

Styles/Specialties: country, pop, 

singer- songwriter 

Mike Ruthig, GM 

NONESUCH RECORDS 

1290 Ave. of the Americas, 23rd Fl. 


212-707-2900 Fax 212-707-3207 

E-mail: info@nonesuch.com 

Web: www.nonesuch.com 

Roster: Emmylou Harris, Joni Mitchell, Gipsy 

Kings, KD Lang, Randy Newman, Wilco, Brian 

Wilson, Stephen Sondheim, Kronos Quartet, 

Youssou N’Dour, Buena Vista Social Club, 

Laurie Anderson and more. 

Styles/Specialties: jazz, classical, Americana, 

singer-songwriter, contemporary, world, pop 

*No Unsolicited material 

Bob Hurwitz, A&R 

David Bither, Senior VP A&R 

ODDS ON RECORDS LLC 

14A Sunset Way 

Henderson, NV 89014 

702-318-6001 

E-mail: info@oddsonrecording.com 

Web: www.oddsonrecords.com 

Specialties: pop / rock 

No unsolicited material please 

Ted Joseph, A&R 

OGLIO ENTERTAINMENT 

P.O. Box 404 

Redondo Beach, CA 90277 

310-791-8600 Fax 310-791-8670 

E-mail: getinfo4@oglio.com 

Web: www.oglio.com 

Contact: Carl Caprioglio, Mark Copeland 

Roster: The Leftovers, Foreign Globester, 

Margo Guryan, BigBang, Beatallica, George 

Lopez , Jackie “Joke Man” Martling, comedy, 

reissues, novelty, soundtracks, Brian Wilson 

(Beach Boys), Robbie Krieger (The Doors), Ray 

Manzarek (The Doors), Wisely, Phunk Junkeez, 

Bouquet of Veal, Ogden Edsl 

Carl Caprioglio, President 

OH BOY RECORDS 

33 Music Sq. W., Ste. 102B 


800-521-2112 Fax 615-742-1360 

E-mail: jon@ohboy.com 

Web: www.ohboy.com 

Styles/Specialties: country 

*No unsolicited materials 

ORCHARD 

23 E. 4th St., 3rd Fl. 


212-201-9280 

E-mail: brad@theorchard.com 

Web: www.theorchard.com 

Brad Navin, CEO 

PEAK RECORDS 

100 N. Crescent Dr., Ste. 275 


310-385-4040 Fax 310-385-4050 


Styles/Specialties: classical, 

contemporary, jazz 

Andi Howard, President 

PINCH HIT ENTERTAINMENT 

901 Hermosa Ave. Ste. F 

Hermosa Beach, CA 90254 

Web: www.pinchhit.com 


POSI-TONE 

P.O. Box 2848 

Venice, CA 90294 

310-871-2652 

E-mail: info@posi-tone.com 

Web: www.posi-tone.com 


Roster: Jim Rotondi, Spike Wilner, Ralph 

Bowen, Orrin Evans, Steve Davis, Jared Gold, 

Brandon Wright, Ken Fowser 

Marc Free, A&R 

PPL ENTERTAINMENT GROUP, INC. 

468 N. Camden Dr., Ste. 200 


310-860-7499 818-506-8533 

E-mail: pplzmi@aol.com 

Web: www.pplzmi.com 

Styles/Specialties: all 

*No unsolicited material accepted. Must first 

e-mail or write with SASE for permission. 

PRA RECORDS 

1255 Fifth Ave., Ste. 7K 


212-860-3233 

E-mail: pra@prarecords.com 

Web: www.prarecords.com 


Distribution: E-1 

Patrick Rains, A&R 

PRAVDA RECORDS 

6311 North Neenah Ave. 

H O L LY W O O D 

M A S T E R I N G 

HDCD • Analog • digital 

888-masters 

www.HollywoodMastering.com 





773-763-7509 

E-mail: info@pravdamusic.com 

Web: www.pravdamusic.com 

Styles/Specialties: rockabilly, pop, blues 

Distribution: ADA 

PRIMARILY A CAPPELLA 

P.O. Box D 

San Anselmo, CA 94979 

415-455-8602 800-SING-181 (4181) 

E-mail: john@singers.com 

Web: www.singers.com 

Styles/Specialties: a cappella 


PUTUMAYO WORLD MUSIC 

28 W. 25th St., 5th Fl. 


212-625-1400 Fax 212-460-0095 

E-mail: info@putumayo.com 

Web: www.putumayo.com 

*Accepts unsolicited materials. 

Send CD demo & contact info to: Putumayo 

World Music, Attn: Jacob Edgar, 413 Carpenter 

Rd., Charlotte, VT 05445 

RAMP RECORDS 

Santa Barbara, CA 

E-mail: info@ramprecords.com 

Web: www.ramprecords.com 

Styles/Specialties: eclectic 

Roster: Michael McDonald, Jeff Bridges 


RAP-A-LOT RECORDS 

P.O. Box 924190 

Houston, TX 77292 

800-861-7272 

E-mail: info@rapalotrecords.com 

Web: www.rapalotrecords.com 

Styles/Specialties: Hip-Hop, Rap 

Thomas Randall, Dir. A&R 

RAZOR & TIE MUSIC 

214 Sullivan St., Ste. 4A 


212-598-2200 

E-mail: info@razorandtie.com 

Web: www.razorandtie.com 

Styles/Specialties: pop, metal, rock, soul, folk, 

dance, world 

RCA RECORDS 



212-833-6200 

Web: www.rcarecords.com 


Peter Edge, CEO 

Tom Corson, Pres. & COO 

Keith Naftaly, Exec. VP / Head of A&R 

RCA RECORDS - NASHVILLE 

1400 18th Ave. S, 4th Fl. 


615-301-4488 

Web: www.sonymusicnashville.com 


REBEL WALTZ / TIME BOMB RECORDINGS 

3162 2nd Ave. 

Laguna Beach, CA 92651 

949-499-8338 Fax 949-499-8333 

E-Mail: info@rebelwaltz.com 

Web: www.rebelwaltz.com 

Styles/Specialties: punk, alt. rock 


RED HOUSE RECORDS 

P.O. Box 4044 

St. Paul MN 55104 

800-695-4687, 651-655-4161 

Fax 651-644-4248 

E-mail: promotions@redhouserecords.com, 

operations@redhouserecords.com 

Web: www.redhouserecords.com 

Styles/Specialties: singer-songwriters, blues, 

traditional folk, or instrumental 

RELAPSE RECORDS 

P.O. Box 2060Upper Darby, PA 19082610- 

734-1000 Fax 610-734-3719 

E-mail: matt@relapse.com 

Web: www.relapse.com 

Styles/Specialties: metal, rock 

Roster: Baroness, Origin, Brutal Truth, Obscura, 

Revocation, Red Fang, Toxic Holocaust 

Matt Jacobson, President 

REVELATION RECORDS 

P.O. Box 5232 

Huntington Beach, CA 92615 

714-842-7584 

E-mail: webmaster@revhq.com 

Web: www.revelationrecords.com 

Styles/Specialties: hardcore, punk, emo 


RHYMESAYERS ENTERTAINMENT 

2409 Hennepin Ave. 

Minneapolis, MN 55405 

612-977-9870 

E-mail: info@rhymesayers.com 

Web: www.rhymesayers.com, 

www.myspace.com/rhymesayers 

Styles/Specialties: hip-hop/rap 

Brent Sayers, CEO 

ROADRUNNER RECORDS 



212-274-7500 Fax 212-334-6921 

E-mail: publicity@roadrunnerrecords.com 

Web: www.roadrunnerrecords.com 

Ron Burman, Sr. VP A&R 


3381 Steeles Ave. E. #100 

Toronto, ON Canada M2H 3S7 

10-12 Rosser St. 

Brunswick, Victoria, Australia 3056 

Web: mail@roadrunnerrecords.au 

ROCKZION RECORDS 

673 Valley Dr. 

Hermosa Beach, CA 90254 

310-379-6477 Fax 310-379-6477 

E-mail: rockzionrecords@rockzion.com 

Web: www.rockzion.com 

Styles/Specialties: Christian and 

crossover rock 

ROIR (say ROAR!) 

(Reachout International Records) 

P.O. Box 150-460 

Van Brunt Station 


718-477-ROIR (7647) Fax 718-852-7657 

E-mail: info@roir-usa.com 

Web: www.roir-usa.com 

Styles/Specialties: punk, reggae, rock 

*Unsolicited material accepted, but look at our 

website so you know who we are. 

ROTTEN RECORDS 

A&R Dept. 

P.O. Box 56 

Upland, CA 91785 

E-mail: adriana@rottenrecords.com 

Web: www.rottenrecords.com 

Styles/Specialties: metal, punk 

*Unsolicted material accepted. 

Dick Shitelmeyer, A&R 

ROUNDER RECORDS 

One Rounder Way 

Burlington, MA 01803 

E-mail: info@rounder.com 

Web: www.rounder.com 


Styles/Specialties: roots music 

Marian Leighton, Owner, A&R 

Bill Nowlin, Owner, A&R 

John Virant Exec VP, A&R 

Scott Billington, VP, A&R 

Dave Godowski, A&R Dir. 

SADDLE CREEK RECORDS 

P.O. Box 8554 

Omaha, NE 68108 

402-558-8208 

E-mail: info@saddle-creek.com 

Web: www.saddle-creek.com/home.html 

Styles/Specialties: rock, electronica, 

country rock 

Robb Nansel, President 

SEANY RECORDS 

7567 La Jolla Blvd. 

La Jolla, CA 92037 

858 551-5885 

Email: hllansky@seanyrecords.com 

Web: www.seanyrecords.com 

Styles: pop, rock, urban 

Harlan Lansky, President 

SHANGRI-LA PROJECTS 

P.O. Box 40106 


901-359-3102 

E-mail: sherman@shangrilaprojects.com 

Web: www.shangrilaprojects.com 

Styles/Specialties: alternative rock 

Sherman Willmott, A&R 

SIX DEGREES RECORDS 

520 Hampshire St. #202 


415-626-6334 

E-mail: info@sixdegreesrecords.com 

Web: www.sixdegreesrecords.com 

Styles/Specialties: world music, ambient, 

folk, contemporary classical and intelligent 

pop music 


SKAGGS FAMILY RECORDS 

P.O. Box 2478 

Hendersonville, TN 37077 

615-264-8877 Fax 615-264-8899 

E-mail: info@skaggsfamilyrecords.com 

Web: www.skaggsfamilyrecords.com 

Contact: Ricky Skaggs, Charlotte Scott 

SONIC SAFARI MUSIC / JONKEY 

ENTERPRISES 

663 W. California Ave. 


818-247-6219, 800-259-6004 

E-mail: chuck@sonicsafarimusic.com 

Web: www.sonicsafarimusic.com 

Styles/Specialties: environmental, world, 

traditional, ethnic 

Distribution: Indies 

Chuck Jonkey, A&R 

SONIC PAST MUSIC, LLC 

25276 Via Tanara 

Valencia, CA 91355 

818-203-9999 

Web: www.sonicpastmusic.com 

Styles/Specialties: specializes in unreleased 

material by famous artists as well as cult-based 

musicians of the ‘60s through the ‘90s 

Joey Stec, President 

SONY DISCOS 

2190 N.W. 89th Pl. 


Web: www.sonymusiclatin.com 


SONY MUSIC LABEL GROUP 

550 Madison Ave. 


212-833-8000 

Web: www.sonymusic.com 


SONY MUSIC LATIN 



310-272-2100 

Web: www.sonymusic.com 

SONY MUSIC NASHVILLE 

(Arista Nashville, BNA Records, Columbia 

Nashville, RCA Records Nashville) 

1400 18th Ave. S., 4th Fl. 


615-858-1300 Fax 615-301-4303 

Web: www.sonynashville.com 


Jim Catino, VP A&R 

Lisa Ramsey-Perkins Sr. Dir. A&R 

Duane Hobson, Manager A&R 

SPARROW RECORDS 

P.O. Box 5010 

Brentwood, TN 37024-5010 

615-371-6800 Fax 615-371-6997 

Web: www.sparrowrecords.com 

Styles/Specialties: Christian 


SST 

406 Talbot St. 

Taylor, TX 76574 

512-352-8165 Fax 512-352-8178 

Web: www.sstsuperstore.com 

Styles/Specialties: rock, jazz, punk 

progressive rock 


STREETBEAT RECORDS / PANDISC 

MUSIC CORP. 

247 SW 8th St., Ste. 349 


305-557-1914 Fax 888-493-7778 

January 2013 


63



E-mail: bocrane@pandisc.com 

Web: www.pandisc.com, 

www.streetbeatrecords.com 


STONES THROW RECORDS, LLC 

2658 Griffith Park Blvd., #504 


E-mail: info@stonesthrow.com 

Web: www.stonesthrow.com 

*Accepts unsolicited material, no MP3’s 

SUB POP RECORDS 

2013 4th Ave., 3rd Fl.Seattle, WA, 98121 

206-441-8441 

E-mail: info@subpop.com 

Web: www.subpop.com 

*Accepts unsolicited materials 

Tony Kiewel, Head of A&R 

Stuart Meyer, A&R 

Richard Laing, A&R 

SURFDOG RECORDS 

1126 South Coast Hwy. 101 

Encinitas, CA 92024 

760-944-8000 Fax 760-944-7808 

E-mail: scott@surfdog.com 

Web: www.surfdog.com 


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 


Scott Seine, A&R 

SYMPATHY FOR THE RECORD INDUSTRY 

120 State Ave., N.E. 134 

Olympia, WA 98501 

E-mail: sympathy13@aol.com 

Web: www.sympathyrecords.com 

Styles/Specialties: rock, pop, punk 

TANGENT RECORDS 

P.O. Box 383 

Reynoldsburg, OH 43068-0383 

614-751-1962 Fax 614-751-6414 

E-mail: info@tangentrecords.com 

Web: www.tangentrecords.com 

Styles/Specialties: contemporary 

instrumental, rock instrumental, electronic, 

jazz-rock, world beat 

Distribution: self-distributed 


Andrew J. Batchelor, President 

THIN MAN RECORDS 

P.O. Box 322 

Torrance, CA 90507 

310-320-8822 

E-mail: submissions@thinmanentertainment. 

com, ar@thinmanentertainment.com 

Web: www.thinmanentertainment.com 

Styles/Specialties: alternative rock, darkwave, 

deathrock, gothic, industrial, jazz, junk, punk, 

and psychobilly 

THUMP RECORDS 

PO Box 9605 

Brea, CA 92822 

909-595-2144 

E-mail: info@thumprecords.com 

Web: www.thumprecords.com 

Styles/Specialties: Latin rap, old skool, rap, 

R&B, Latin, oldies, disco 


TOMMY BOY 

902 Broadway 


212-388-8475 

E-mail: rosie.lopez@tommyboy.com 

Web: www.tommyboy.com 

*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, VP A&R 

TRICOPOLIS RECORDS 

33261 Adelfa St. 

Lake Elsinore, CA 92530 

951-678-0831, 951-757-5055 

E-mail: info@tricopolisrecords.com 

Web: www.tricopolisrecords.com 

Contact: Mike Nadolson 

Styles/Specialties: bluegrass, folk, acoustic 


TRIPLE X RECORDS 

P.O. Box 862529 


323-221-2204 Fax 323-221-2778 

E-mail: triplexrecords@gmail.com 

Styles/Specialties: alt. rock, 

reissues, goth, rap 

Distribution: Navarre 

*Call before sending material 

Peter Huer, Owner 

Dean Naleway, A&R 

U & L RECORDS 

1617 Cosmo St., Ste. 411 


E-mail: License@urbandlazar.com 

Web: www.urbandlazar.com, 

myspace.com/urbandlazar 

Styles/Specialities: indie rock, alternative, 

singer-songwriter 

*Accepts Unsolicited Material 

UNIVERSAL MOTOWN REPUBLIC 



212-333-8000 

Web: www.umrg.com 


Tom Mackay, Exec. VP A&R 

UNIVERSAL MUSIC GROUP 

2220 Colorado Ave., 3rd Fl. 


310-865-0809 

Web: www.universalmusic.com 

UNIVERSAL MUSIC GROUP - NASHVILLE 

401 Commerce St., Ste. 1100 


615-244-8944 

E-mail: brian.wright@umusic.com 

Web: www.umgnashville.com 


Brian Wright, VP A&R 

VAGRANT RECORDS 



323-302-0100 

E-mail: dan@vagrant.com, 

demosubmissions@vagrant.com 

Web: www.vagrant.com 

Styles/Specialities: rock, indie, experimental 

Roster: City and Colour, Dashboard 

Confessional, the Eels, Face to Face 

*Accepts unsolicited material by mail 

Jon Cohen, President 

Dan Gill, GM 

VANGUARD RECORDS 

2700 Pennsylvania Ave., Ste. 1100 


310-829-9355 Fax 310-315-9996 

E-mail: info@vanguardrecords.com 

Web: www.vanguardrecords.com 

Syles/Specialties: jazz, folk music 


Gary Paczosa, VP A&R 

Steve Buckingham, Sr. VP 

VAN RICHTER RECORDS 

440 South El Cielo Rd. Ste. 3-219 

Palm Springs, CA 92262 

858-731-2995 

E-mail: manager@vanrichter.net 

Web: www.vanrichter.net 

Styles/Specialties: industrial, gothic, metal 

Paul Abramson, A&R 


VAPOR RECORDS 

1460 4th St. #300 


310-393-8442 Fax 310-393-6512 

E-mail: webstar@vaporrecords.com 

Web: www.vaporrecords.com 

Styles/Specialties: indie, rock 


VERVE MUSIC GROUP-UMG 

1755 Broadway 3rd. Fl. 


212-331-2000 Fax 212-331-2005 

E-mail: contact@vervemusicgroup.com 

Web: www.vervemusicgroup.com 

Styles/Specialties: jazz, adult 

contemporary, classical 


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www.localmarkengauthority.com 




Dahlia Ambach Caplin, Dir. A&R 

Evelyn Morgan, Assoc. Dir. A&R Admin 

VICE RECORDS 

97 N. 10th St., Ste. 202 


718-233-3657 Fax 718-599-1769 

E-mail: wassup@vicerecords.com 

Web: www.vicerecords.com 



VICTORY RECORDS 

346 N. Justine St., 5th Fl. 


312-666-8661 Fax 312-666-8665 

E-mail: getmusic@anothervictory.com 

Web: www.victoryrecords.com 

Styles/Specialties: rock, punk, metal 

Tony Brummel, Founder 

VIRGIN RECORDS 

5750 Wilshire Blvd, Ste. 300 


323-692-1100 

Web: www.virginrecords.com 


VIRGIN RECORDS AMERICA 

150 5th Ave., 2nd-3rd Fls. 


212-786-8900 

Web: www.virginrecords.com 


VOLCOM ENTERTAINMENT 

1740 Monrovia Ave.Costa Mesa, CA 92627 

949-646-2175 

E-mail: volcoment@volcom.com 

Web: www.volcoment.com 

Styles/Specialties: punk, indie, rock 

Roster: Valient Thorr, Riverboat Gamblers, 

Year Long Disaster, ASG 

Ryan Immegart, A&R 


WARNER BROS. NASHVILLE 

20 Music Sq. E. 


615-748-8000 

E-mail: nashville.ar@wbr.com 

Web: www.wbrnashville.com 


Scott Hendricks, Sr. VP A&R 

Cris Lacy, Director A&R 

Rebekah Sterk, Dir./A&R Film/TV, Special Proj. 

WARNER BROS. RECORDS 

3400 Warner Blvd., 3rd Fl. 


818-846-9090 Fax 818-840-2343 

Web: www.wbr.com 



Jeff Fenster, VP A&R 

Mike Elizondo, Sr. VP A&R 

Julian Raymond, VP A&R, Staff Producer 

Kevin Kusatsu, A&R 

Greg Federspiel, Manager A&R 

Matt Marshall, Sr. VP A&R 

Alaska Gedeon, Director A&R - Urban 

Dallas Martin, A&R Consultant 

Atlanta, GA 30308 

Web: www.warnerbrosrecords.com 

WARNER MUSIC GROUP 

1290 Ave. of the Americas, 23rd Fl. 


212-275-2000 

Web: www.wmg.com 


WARNER MUSIC LATINA 

555 Washington Ave., 4th Fl. 

Miami Beach, FL 33319 

305-702-2200 Fax 305-266-8771 

E-mail: gabriella.martinez@wmg.com 

Web: www.miwml.com 


Gabriella Martinez, VP Marketing 

WAXPLOITATION ENTERTAINMENT 

201 South Santa Fe Ave., Ste. 100 


213-687-9563 

E-mail: info@waxploitation.com 

Web: www.waxploitation.com 

Styles/Specialties: hip-hop 

WICKED COOL RECORDS 

434 6th Ave., Ste. 6R 


212-868-9003 

E-mail: info@wickedcoolrecords.com, scott@ 

wickedcoolrecords.com 

Web: www.wickedcoolrecords.com 

Styles/Specialties: garage rock 

Scott Hueston, Label Manager 

WILD RECORDS 

Web: www.wildrecordsusa.com 

Styles: rockabilly, blues, surf, garage and soul 

Reb Kennedy, President, Founder 

WIND-UP 



212-895-3100 

E-mail: brichards@winduprecords.com 

Web: www.winduprecords.com 


Gregg Wattenberg, Sr. VP A&R, Chief 

Creative Officer 

Mike Kahn, Chief Financial Officer 

WORD ENTERTAINMENT 

25 Music Sq. W. 


615-251-0600 Fax 615-726-7888 

Web: www.wordlabelgroup.com 


Styles: Christian 

Rod Ralley, President / CEO 

Josh Bailey, Sr. VP A&R 

Susan Riley, Sr. VP A&R & Publishing 

XL RECORDINGS 

304 Hudson Street, 7th Fl. 

New York, NY 10013wnd 

Web: www.xlrecordings.com 

Styles/Specialties: rock, indie, electro 

Roster: Adele, Sigur Rós, the xx, MIA, Friendly 

Fires, Ratatat, Vampire Weekend, Peaches, the 

White Stripes, Jack White 


817 W. Peachtree St. #300 

January 2013 


65



27 th Annual Directory of 

Music Attorneys 

Download This Directory From Our Website: www.musicconnection.com/amp 


Legal contracts are getting thicker. Which is why 

artists must rely on an informed attorney to make 

smart career choices. Using MC’s exclusive, national 

directory, anyone can find and engage the best legal 

minds in the industry. 

Alabama 

ADAMS AND REESE, LLP 

Regions Harbert Plaza 

1901 6th Ave. N., Ste. 3000 

Birmingham, AL 35203 

205-250-5000 

E-mail: ann.huckstep.@arlaw.com 

Web: www.adamsandreese.com 

Specialty: Entertainment Law, Music Law, 

Intellectual Property 


RSA Battle House Tower 

11 N. Water St., Ste. 23200 

Mobile, AL 36602 

251-433-3234 

JOHNSTON BARTON PROCTOR 

& ROSE, LLP 

569 Brookwood Village St., Ste. 901 

Birmingham, AL 35209 

205-458-9400 Fax 205-458-9500 

E-mail: dproctor@johnstonbarton.com 

Web: www.johnstonbarton.com 

Contact: David W. Proctor, Managing Partner 

Specialty: Entertainment Law, specializing in 

representing music industry clients 

M.S. McNAIR 

2151 Government St. 

Mobile, AL 36606 

800-297-1703, 251-450-0111 

Fax 251-450-0822 

E-mail: msm@mcnair.com 

Web: www.msmcnairlaw.com 

Contact: Michael S. McNair 

Specialty: contracts 

Alaska 

DAVIS WRIGHT TREMAINE, LLP 

701 W. Eighth Ave. 

Anchorage, AK 99501-3468 

907-257-5300 Fax 907-257-5399 

E-mail: dianepennington@dwt.com 

Web: www.dwt.com 

Specialty: Entertainment Law 

DORSEY & WHITNEY LLP 

1031 W. Fourth Ave., Ste. 600 


907-276-4557, 866-270-0350 

E-mail: anchorage@dorsey.com 

Web: www.dorsey.com 

Contact: William J. Evans 

Specialty: Intellectual Property 

PERKINS COIE 

1029 W. Third Ave., Ste. 300 


907-279-8561 Fax 907-276-3108 

E-mail: efjelstad@perkinscoie.com 

Web: www.perkinscoie.com 

Contact: Eric B. Fjelstad 

Specialty: Trademark Law, Intellectual 

Property 

Arizona 

LEWIS AND ROCCA, LLP LAWYERS 

One S. Church Ave., Ste. 700 

Tucson, AZ 85701 

520-622-2090 Fax 520-622-3088 

E-mail: Aaikman@LRLaw.com 

Web: www.lrlaw.com 

Contact: Anne, Aikman-Scalese, of Counsel 

Specialty: Intellectual Property, 

Trademarks & Copyrights 

PERKINS COIE 

2901 N. Central Ave., Ste. 2000 

Phoenix, AZ 85012-2788 

602-351-8000 Fax 602-648-7000 

E-mail: PParker@perkinscoie.com 


Contact: Paul T. Parker 


Property 

SANDERS & PARKS, PC 

3030 N. Third St., Ste. 1300 


602-532-5600 Fax 602-532-5700 

Web: www.sandersandparks.com 


SNELL & WILMER 

One Arizona Center 

400 E. Van Buren St., Ste. 1900 

Phoenix, AZ 85004-2202 

602-382-6000 Fax 602-382-6070 

E-mail: info@swlaw.com 

Web: www.swlaw.com 



One S. Church Ave., Ste. 1500 

Tucson, AZ 85701-1630 

520-882-1200 Fax 520-884-1294 

WILLIAM D. BLACK, LAW OFFICES OF 

M & I Bank Building 

One E. Camelback Rd., Ste. 550 


602-910-6144, 888-349-3599 

Fax 602-265-3685 

Web: www.billblacklaw.com 


Kierland Corporate Center 

7047 East Greenway Parkway, 2nd Fl 

Scottsdale, AZ 85254 

Arkansas 

CARVER LAW 

2024 Arkansas Valley Dr., Ste. 800 

Little Rock, AR 72212-4147 

501-224-1500 Fax 501-224-8831 

E-mail: office@arkpatent.com 

Web: www.arkpatent.com 



P.O. Box 1497 

Santa Barbara, CA 93102 

805-964-9777, 805-456-3906 

E-mail: vc@etmlaw.com 

JACK NELSON JONES & BRYANT, PA 

The Metropolitan Tower 

2800 Cantrell Rd., Ste. 500 

Little Rock, AR 72202 

501-375-1122 Fax 501-375-1027 

Web: www.jacknelsonjones.com 



106 W. 2nd St. 

Malvern, AR 72104 

501-332-4910 Fax 501-332-4910 

ROSE LAW FIRM 

120 E. Fourth St. 

Little Rock, AR 72201-2893 

501-375-9131 Fax 501-375-1309 

E-mail: info@roselawfirm.com 

Web: www.roselawfirm.com 


WRIGHT, LINDSEY & JENNINGS, LLP 

200 W. Capitol Ave., Ste. 2300 

Little Rock, AR 72201 

501-371-0808 501-376-9442 

Web: www.wlj.com 

Contact: Michelle Kaemmerling 



3333 Pinnacle Hills Pkwy., Ste. 510 

Rogers, AR 72758 

479-986-0888 

California 

AKIN, GUMP, STRAUSS, HAUER 

& FELD, LLP 

2029 Century Park E., Ste. 2400 


213-229-1000 

E-mail: losangelesinfo@akingump.com 

Web: www.akingump.com 


633 W. Fifth Street, Ste. 5000 


213-254-1200 

580 California St., Ste. 1500 


415-765-9500 

E-mail: sanfranciscoinfo@akingump.com 

ALFRED KIM GUGGENHEIM, ESQ. 

Hamburg, Karic, Edwards & Martin 

1900 Ave. of the Stars, Ste. 1800 


310-552-9292 Fax 310-552-9291 

E-mail: hkem@hkemlaw.com 

Web: www.hkemlaw.com 

Specialty: All music-related activities in the 

entertainment industry 

*No unsolicited material, please call or e-mail 

first. 

ALLEN B BOELTER, THE LAW OFFICES 

4640 Admiralty Way, Ste. 500 

Marina del Rey, CA 90292 

310-496-5710 

Contact: Al Boelter, managing partner 

Web: http://www.boelterlaw.com 

Specialty: Business consulting, contracts and 

transactional matters 

*Please call for permission before submitting 

AMY GHOSH, LAW OFFICES OF 



213-365-2370, 213-479-8349 

E-mail: amygesq@gmail.com 

Web: www.lawyers.com/amyghosh 

ANDREA BRAUER 

3430 Larga Ave. 


323-661-2440 

Specialty: Contracts, trademarks 

and copyright 


ANDREW STERN 

9100 Wilshire Blvd. Ste. 715, E. 


310-274-8507 Fax 310-274-2080 

E-mail: ajsternlaw@aol.com 


ARNOLD & PORTER 

777 S. Figueroa St.. 44th Fl. 


213-243-4000 Fax 213-243-4199 

Web: www.arnoldporter.com 

Specialty: all areas, intellectual property/ 

technology 



Three Embarcadero Center, 7th Fl. 


415-471-3100 Fax 415-471-3400 

1801 Page Mill Rd., Ste. 110 

Palo Alto, CA 94304 

650-798-2920, Fax 650-798-2999 

ARTHUR T. BERGGREN 

611 1/2 Ocean Park Blvd. 


310-392-3088 Fax 310-392-0931 

E-mail: admin@arthurberggren.com 

Specialty: music and entertainment Law 


BARNES, MORRIS, KLEIN, MARK, 

YORN, BARNES & LEVINE 

2000 Ave. of the Stars N. 3rd Fl. 


310-319-3900 Fax 310-319-3999 

BARRY K. ROTHMAN 



310-557-0062 Fax 310-557-9080 

Web: www.bkrlegal.com 

Specialty: all areas 


BERGER KAHN, A LAW FIRM 

4551 Glencoe Ave., Ste. 245 


310-578-6800 Fax 310-578-6801 

E-mail: info@bergerkahn.com 

Web: www.bergerkahn.com 

Specialty: Contract negotiation, intellectual 

property, copyright, publishing, digital rights, 

creative rights, merchandise licensing, 

royalties calculations, management, touring, 

recording, digital downloading. Expert witness 

and litigation consulting services 


Additional Offices: Orange County, San 

Diego, S.F. Bay Area 

BEVERLY HILLS BAR ASSOCIATION 

9420 Wishire Blvd. 2nd Fl. 


310-601-2422 

E-mail: LRIS@BHBA.org 

Web: www.bhba.org 

BINGHAM 

The Water Garden, Ste. 2050 N. 

1601 Cloverfield Blvd. 


310-907-1000 

E-mail: jon.loeb@bingham.com 

Web: www.bingham.com 

Contact: Jonathan A. Loeb 

BLOOM, HERGOTT, DIEMER, 

ROSENTHALL, LAVIOLETTE 

& FELDMAN, LLP 

150 S. Rodeo Dr., 3rd Fl. 


310-859-6800 Fax 310-859-2788 


BRET D. LEWIS, LAW OFFICES OF 

Santa Monica Wellesley Plaza 

12304 Santa Monica Blvd., Ste. 107A 


310-207-0696 Fax 310-362-8424 

E-mail: bretlewis@aol.com 

Web: www.blewislaw.com 

BRIAN D. PERLEY, LAW OFFICES OF 



424-245-7430 

E-mail: info@perleylaw.com 

Web: www.perleylaw.com 

Specialty: Entertainment, Corporate and 

Internet law 

CALIFORNIA LAWYERS FOR THE ARTS 

1641 18th St. 


310-998-5590 Fax 310-998-5594 

E-mail: losangeles@calawyersforhearts.org 

Web: www.calawyersforthearts.org 

Specialty: Lawyer Referral Service, 

Mediation/Arbitration 

Additional offices in Sacramento and San 

Francisco 

CHRISTOPHER J. OLSEN, 

LAW OFFICES OF 

3075 E. Thousand Oaks Blvd., Ste. 100 

Westlake Village, CA 91362 

805-557-0660 Fax 805-491-8324 




Web: chrisolsenlaw.com 

Practice Areas: Entertainment Law, Music 

Law, Contract Negotiation, Business and 

Transactional Matters, Civil Litigation. 26 years 

experience 

Additional Specialty: Studio and 

Performance Bass Player. I share musicians’ 

concerns because I am one. 

DAVIS, SHAPIRO, LEWIT, 

MONTONE & HAYES, LLP 

150 S. Rodeo Dr., Ste. 200 


310-248-3400 Fax 310-278-4457 

E-mail: info@davisshapiro.com 


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: bmorgan@onelip.com 


DEAN SHELDON SERWIN 

The Taft Building 

1680 N. Vine St., Ste. 1115 

Hollywood, CA 90028-8838 

323-465-1735 

E-mail: mail@deanserwin.com 

Web: www.deanserwin.com 

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 


310-820-7808 Fax 310-826-9658 

Specialty: all areas except litigation 

and demo shopping 


DIJULIO LAW GROUP 

330 N. Brand Blvd., Ste. 702 


818-660-1582 Toll Free: 888-519-1613 

E-mail: jn@dijuliolaw.com 

Web: www.dijuliolawgroup.com 

Specialty: Record contracts, music 

publishing, licenses 


6 Woodard Ave. 

Absarokee, MT 59001 

DONALD & CALLIF 

400 S. Beverly Dr., Ste. 400 


310-277-8394, 310-277-4870 

E-mail: info@MichaelCDonaldson.com 

Web: www.michaelcdonaldson.com 


DONALD S. PASSMAN 

Gang, Tyre, Ramer & Brown, Inc. 

132 S. Rodeo Dr. #306 


310-777-4800 Fax 310-777-4801 


DOUGLAS C. WICKS 

8405 Pershing Dr., Ste. 500 

Playa del Rey, CA 90293 

310-578-6528 

E-mail: wickslaw@verizon.net 

Web: Duiattorney4all.com 

Specialty: litigation 


DRINKER BIDDLE 



310-203-4000, 310-229-1285 

E-mail: William.Hanssen@dbr.com 

Web: drinkerbiddle.com 


EDELSTEIN, LAIRD & SOBEL 



310-274-6184 Fax 310-274-6185 

E-mail: sobel@elsentlaw.com 

Web: www.elsentlaw.com 

Specialty: all areas except demo shopping 


ERIC NORWITZ 

3333 W. Second St., Ste. 52-214 


213-389-3477 

E-mail: enorwitz@pacbell.net 

Specialty: entertainment law and litigation 


FINDELLE LAW & MANAGEMENT 



310-552-1777 Fax 310-286-1990 

E-mail: perfstanny@aol.com 

Contact: Stann Findelle, Esq. 

Specialty: manager and recording 

agreements, production, actors, broadcasting 

and publishing 

*Call before sending material 

FISHBACH, PERLSTEIN, LIEBERMAN 

& ALMOND, LLP 



310-556-1956 Fax 310-556-4617 

Web: fpllaw.com 

Contact: Michael Perlstein 



FOX LAW GROUP 

14724 Ventura Blvd., PH 

Sherman Oaks, CA 91403 

818-461-1740 Fax 818-461-1744 

Web: http://foxlawgroup.com 

E-mail: Sandy@foxlawgroup.com 

Contact: Samuel J. Fox 

Specialty: All forms of entertainment 

transactions 


FREDRIC W. ANSIS 

Reed Smith, LLP 



310-734-5259 Fax 310-734-5299 

E-mail: fansis@reedsmith.com 

Web: www.reedsmith.com 

Specialty: Music & Advertising 

GANG, TYRE, RAMER & BROWN, INC. 

132 S. Rodeo Dr. 


310-777-4800 


GERRY BRYANT, ESQ. 



310-301-2728 

Web: www.gerrybryant.com 

E-mail: gerrybryantesq@aol.com 

*No unsolicited material or deal shopping. 

GIBSON, DUNN & CRUTCHER, LLP 

333 S. Grand Ave., 47th Fl. 


213-229-7000 Fax 213-229-7520 

E-mail: inquiries@gibsondunn.com 

Web: www.gibsondunn.com 



2029 Century Park E. 


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 


310-821-9000 Fax 310-775-8775 

E-mail: info@gladstonemichel.com 

Web: www.gladstonemichel.com 

Specialty: Contract negotiation, intellectual 

property, copyright, publishing, digital rights, 

creative rights, merchandise licensing, 

royalties calculations, management, touring, 

recording, digital downloading, entertainment 

insurance, expert witness and litigation 

consulting services 


LAW OFFICES OF GLENN T. LITWAK, A 

PROFESSIONAL CORPORATION 



310-858-5574 Fax 310-207-4180 

E-mail: glenn@litwakandhavkin.com 

Web: www.litwakandhavkin.com 

GREENBERG, GLUSKER 

1900 Ave. of the Stars, 21st Fl. 


310-553-3610 Fax 310-553-0687 

Web: www.greenbergglusker.com 


GREGORY L. YOUNG 


Woodland Hills, CA 91364 

805-381-0700 Fax 805-598-0712 

E-mail: gyoung@rasaplc.com 

Specialty: Representation of musicians 

and entertainment companies. Recording 

agreements; publishing/administration/ 

songwriter agreements; touring agreements; 

band; producer; production; licensing; 

publishing administration; copyright and 

trademark registration; copyright infringement; 

entertainment and business litigation. 


HARTFORD O. BROWN, ESQ. 

Klinedinst, PC 

777 S. Figueroa St., Ste. 2800 


213-406-1100 Fax 406-1101 

E-mail: hbrown@klinedinstlaw.com 

Web: www.klinedinstlaw.com 

Specialty: Entertainment, contractual/ 

transactional, intellectual property, 

general litigation 


HEICKLEN LAW OFFICES 


Encino, CA 91436 

818-907-7771 

Contact: Michael Heicklen 

HEIMANN GALEN, LLP 

9701 Wilshire Blvd, Suite 1000 


310-274-9701 Fax 323-395-5722 

E-mail: info@heimanngalen.com 

Web: www.heimanngalen.com 

Specialty: Music and Entertainment Law 

HELMER, FRIEDMAN, LLP 

8522 National Blvd., Ste. 107 


310-396-7714 Fax 310-396-9215 

E-mail: info@helmerfriedman.com 

Web: helmerfriedman.com 

Contact: Ken Helmer 



HERTZ & LICHTENSTEIN, LLP 

450 N. Roxbury Dr., 8th Fl. 


310-271-8777 Fax 310-276-8310 

E-mail: kh@himedialaw.com 

Web: www.hlmedialaw.com 

Contact: Kenneth Hertz 

Specialty: contracts and publishing 


IRELL & MANELLA, LLP 



310-277-1010 Fax 310-203-7199 

E-mail: info@irell.com 

Web: www.irell.com 


840 Newport Center Dr., Ste. 400 

Newport Beach, CA 92660-6324 

949-760-0991 Fax 949-760-5200 

ISAACMAN, KAUFMAN & PAINTER 

10250 Constellation Blvd., Ste. 2900 


310-881-6800 Fax 310-881-6801 

Web: www.ikplaw.com 

E-mail: info@ikplaw.com 

Contact: Steven Lowy, Andrew Zucker, Chuck 

Hurewitz, Neal Fisher 


JACKOWAY, TYERMAN, WERTHEIMER, 

AUSTEN, MANDELBAUM, & MORRIS 

1925 Century Park E., 22nd. Fl. 


310-553-0305 Fax 310-553-5036 


JAY COOPER 

(Greenberg Traurig LLP) 



310-586-7700 Fax 310-586-7800 

Web: www.gtlaw.com 

E-mail: Cooper@gtlaw.com 

Specialty: entertainment law and copyright, 

30 offices worldwide 

JEFFREY L. GRAUBART 

100 Corson St., Third Fl. 

Pasadena, CA 91103 

626-304-2800 Fax 626-304-2807 

E-mail: info@jlgraubart.com 

Web: www.entertainmentlaw.la 

Specialty: copyrights and litigation 


JOHNSON & JOHNSON, LLP 

439 N. Canon Dr., Ste. 200 


310-975-1080 Fax 310-975-1095 

E-mail: njohnson@jjllplaw.com 

Web: www.jjllplaw.com 

Contact: Neville L. Johnson 

Specialty: litigation and contracts 


JONATHAN STEIN, LAW OFFICES OF 



310-587-2277 Fax 310-575-0170 

E-mail: jstein@jsteinlaw.com 

Web: www.jsteinlaw.com 


JOSHUA P. BINDER 

Attorney at Law 



310-855-1223 

E-mail: josh@joshbinder.com 

Web: www.joshbinder.com 

Specialty: Music, television, IP licensing and 

contract negotiation 

KATTEN, MUCHIN, ROSENMAN, LLP 



310-788-4400 

E-mail: jashua.wayser@kattenlaw.com 

Web: www.kattenlaw.com 

KENOFF & MACHTINGER, LLP 



310-552-0808 Fax 310-277-0653 

Web: www.entertainmentlawla.com 

E-mail: jkenoff@entertainmentlawla.com 

Specialty: contracts, litigation 

*No unsolicited material, no shopping 

KLEINBERG, LANGE, CUDDY, KLEIN, LLP 



310-286-9696 Fax 310-277-7145 

E-mail: info@kllck.com 

Web: www.kllck.com 

Specialty: contracts and publishing 


LAPOLT LAW, PC 



310-858-0922 Fax 310-858-0933 

E-mail: dina@lapoltlaw.com, heidy@lapoltlaw. 

com, sabrina@lapoltlaw.com 

Web: www.lapoltlaw.com 

Contact: Dina LaPolt, Heidy Vaquerano, 

Sabrina Ment 

Specialties: All areas relating to music, film, 

television, merchandising and book publishing. 

LEE RUDNICKI, LAW OFFICES OF 



310-300-8407 Fax 310-300-8401 

E-mail: drumlaw80@gmail.com 

Web: www.drumlaw80.com 

Specialty: Music, film and television 

LEWIS, BRISBOIS, BISGAARD 

& SMITH, LLP 

333 Bush St., Ste. 1100 


415-362-2580, Fax 415-434-0882 

E-mail: Haus@lbbslaw.com 

Web: www.lbbslaw.com 

Contact: Alan J. Haus 

Specialties: Entertainment Law 


LICHTER, GROSSMAN, NICHOLS, 

ADLER & GOODMAN 



310-205-6999 Fax 310-205-6990 


LOEB & LOEB, LLP 



310-282-2000 Fax 310-282-2200 

Contact: Mickey Mayerson 

E-mail: mmayerson@loeb.com 

Web: www.loeb.com 


MANATT, PHELPS & PHILLIPS 

11355 W. Olympic Blvd. 


310-312-4000 Fax 310-312-4224 

E-mail: wquicksilver@manatt.com 

January 2013 


67



Web: www.manatt.com 




695 Town Center Dr., 14th Fl. 

Costa Mesa, CA 92626 

714-371-2500 Fax 714-371-2550 

1841 Page Mill Rd., Ste. 200 


650-812-1300 Fax 650-213-0260 

One Embarcadero Center - 30th Fl. 


415-291-7400 Fax 415-291-7474 

1215 K Street, St., Ste. 1900 

Sacramento, CA 95814 

916-552-2300 Fax 916-552-2323 

MARIO F. GONZALEZ, ESQ. 

15332 Antioch St., #573 

Pacific Palisades, CA 90272 

818-707-3894 

E-mail: mario@mgonzalezlaw .com 

Web: www.mgonzalezlaw.com 

Specialty: music attorney 

MARK “ABBA” ABBATTISTA 

311 N. Robertson Ave. Ste. 505 


818-991-7399 

E-mail: kingabba@aol.com 



MARTY O’TOOLE 



310-888-4000 

E-mail: mx@martyotoole.com 

Web: www.lawofficesofmartyotoole.com 

Specialty: Contracts, copyright, trademark, 

demo shopping, negotiation, music video, 

publishing, band agreements, LLC, litigation 


MAURO FIORE, JR., LAW OFFICE OF 

1901 W. Pacific Ave., Ste. 260 

W. Covina, CA 91790 

626-593-9031, 866-583-9564 

Web: www.Fiorelegal.com 


80 S. Lake Ave., Ste. 710 

Pasadena, CA 91101 

McLANE & WONG 

11135 Weddington St., Ste. 424 

North Hollywood, CA 91601 

818-587-6801 Fax 818-587-6802 

E-mail: bcmclane@aol.com 

Web: www.benmclane.com 

Specialty: Contracts, negotiation 


McPHERSON & ASSOCIATES 

1801 Century Park E., 24th Fl. 


310-553-8833 Fax 310-553-9233 

E-mail: firm@mcphersonrane.com 

Web: www.mcphersonrane.com 



840 Wainee St., Ste. 104 

Lahaina, Maui, HI 92701 

808-662-4884 

MICHAEL H. GOLLAND 

Abrams, Garfinkel, Margolis, Bergson, LLP 



310-300-2900 

E-mail: info@rfgllaw.com 

Web: www.agmblaw.com 

MICHAEL J. MARONEY, ESQ. 

3230 Van Allen Pl. 

Topanga Canyon, CA 90290 

818-592-0477 

E-mail: mjmaroney@earthlink.net 

Web: www.maroneylaw.com 

MICHAEL MACHAT 



310-860-1833 Fax 310-860-1837 

E-mail: info@machatlaw.com 

Web: www.machatlaw.com 


MICHAEL R. GARDNER 

810 E. Commonwealth Ave. 

Fullerton, CA 92831 

714-447-3808 Fax 714-680-0421 

*No unsolicited material accepted 

MICHAEL R. MORRIS 

Valensi Rose PLC 



310-277-8011, Fax 310-277-1706 

E-mail: mrm@vrmlaw.com 

Web: www.vrmlaw.com 

Specialty: Full-service music law, including 

recording, producer, production company 

and soundtrack agreements, master use and 

synchronization licenses; artist and label 

representation; entertainment tax law 

*Unsolicited materials on a very selective 

basis 

MUSIC ATTORNEY, LEGAL & BUSINESS 

AFFAIRS REGISTRY 



800-552-7411 818-781-1974 

E-mail: info@musicregistry.com 

Web: www.musicregistry.com 

MYMAN, ABELL, FINEMAN, 

GREENSPAN & LIGHT 



310-231-0800 

Web: www.mymangreenspan.com 



NEAL TABACHNICK, ESQ. 

Wolf, Rifkin, Shapiro, Schulman & Rabkin, LLP 

11400 W. Olympic Blvd., 9th Fl. 


310-478-4100 Fax 310-479-1422 

E-mail: ntabachnick@wrslawyers.com 

*Does not shop material 

O’MELVENY & MYERS 

1999 Ave. of the Stars, 7th Fl. 


310-553-6700 Fax 310-246-6779 

Web: www.omm.com 



400 S. Hope St. 


213-430-6000 Fax 213-430-6407 

PERKINS COIE 

1888 Century Park E, Ste. 1700 


310-788-9900 Fax 310-788-3399 

E-mail: RMcintire@perkinscoie.com 


Contact: Ronald (Ron) A. McIntire 


Property 


Four Embarcadero Center, Ste. 2400 


415-344-7000 Fax 415-344-7050 

E-mail: BSchussman@perkinscoie.com 

Contact: Barbara J. Schussman 

3150 Porter Drive 


650-838-4300, Fax 650-838-4350 

E-mail: EdWes@perkinscoie.com 

Contact: Edward (Ed) J. Wes 

PIERCE LAW GROUP, LLP 

9100 Wilshire Blvd., Ste. 225, E. Tower 


310-274-9191 Fax 310-274-9151 

E-mail: info@piercelawgroupllp.com 

Web: piercelawgroupllp.com 

Contact: David Albert Pierce 


*No unsolicited material accepted, no 

shopping. 

PILLSBURY WINTHROP 

SHAW PITTMAN, LLP 

725 S. Figueroa St., Ste. 2800 


213-488-7100 Fax 213-629-1033 

E-mail: william.waller@pillsburylaw.com 

Web: www.pillsburylaw.com 

Contact: William S. Waller 

Specialty: All areas, including intellectual 

property and technology 


POLK & BERKE 

Jeff Berke, Esq. 



310-235-2009 Fax 310-235-2029 

E-mail: jeffberke@yahoo.com 

Contact: Jeff Berke 

Specialty: Call for more information 

PROBSTEIN & WEINER & BUTLER 

1299 Ocean Ave., Ste. 306 


310-836-1400 Fax 310-836-1420 

E-mail: gbweiner@pwmusiclaw.com 

Web: www.pwmusiclaw.com 


PROSKAUER, ROSE, LLP 

2049 Century Park E. 


310-557-2900 Fax 310-557-2193 

E-mail: mworonoff@proskauer.com 

Web: www.proskauer.com 

Contact: Michael A. Woronoff 

Specialty: practice limited to litigation of 

commercial and entertainment related 

disputes 


RANDAL NEAL COHEN 



310-826-8082, 800-718-4658 

Fax 310-826-8682 

E-mail: Randall@Music-Attorney.com 

Web: www.music-attorney.com 

Specialty: all areas except demo shopping. 


REBEL ROY STEINER, JR. 

Loeb & Loeb LLP 



310-282-2051 Fax 310-919-3038 

E-mail: rsteiner@loeb.com 


REED SMITH, LLP 



310-734-5200 Fax 310-734-5299 

E-mail: fansis@reedsmith.com, ssessa@ 

reedsmith.com 


Contact: Fredric W. Ansis or Stephen E. 

Sessa 

RICHARD JOSEPH, LAW OFFICES OF 



310-248-2900 

E-mail: rjoseph@rjml.net 

Web: www.rnjlawgroup.com 

Specialty: All areas of music law. 


ROBERT S. GREENSTEIN, ESQ. 

Greenstein Law Offices 

22911 Crespi St. 

Woodland Hills, CA 91364 

818-225-8917 Fax 818-225-9010 

E-mail: info@greensteinlaw.com 

Web: www.linkedin.com/in/RobertGreenstein 

Specialty: Full-service entertainment industry 

business and legal affairs 

*Please contact the office before submitting 

any material 

ROGERS & HARRIS 

520 S. Sepulveda, Ste. 204 


310-471-3170 Fax 310-471-3276 

E-mail: rogersharris1@verizon.net 

Web: www.rogersandharris.com 

Contact: Michael Harris 



ROHDE & VICTOROFF 



310-277-1482 Fax 310-277-1485 

E-mail: greg@rohde-victoroff.com 

Web: www.rohde-victoroff.com 

Contact: Greg Victoroff 



RONALD A. LITZ, LAW OFFICES OF 



310-201-0100 Fax 310-201-0226 

Web: www.ronlitzlaw.com 


ROSENFELD, MEYER & SUSMAN 

232 N. Canon Dr., 2nd Fl. 


310-858-7700 Fax 310-860-2430 

Web: www.rmslaw.com 

E-mail: kgoldsberry@rmslaw.com 


SALLY KOENIG 

Koenig Law Offices 

606 Hanley Ave. 


310-440-9290 

E-mail: koeniglaw@mac.com 

Web: http://www.facebook.com/pages/Koenig- 

Law-Offices/27383391583 

Specialty: Artist and label representation in all 

areas. Draft and negotiate agreements. 

*Unsolicited material accepted, email for 

permission 

SCHLEIMER & FREUNDLICH, LLP 

9401 Wilshire Blvd., Ste. 1250. 


310-273-9807 Fax 310-273-9809 

E-mail: schleimerlaw@msn.com 

Web: www.schleimerlaw.com 


SCOTT HARRINGTON, ESQ. 

Harrington Music Law Group, PC 



310-315-9222 Fax 310-315-9225 

E-mail: sharrington@sdhmusiclaw.com 

SEDGEWICK, DETERT, MORAN 

& ARNOLD, LLP 

801 S. Figueroa St, 19th Fl. 


213-426-6900 Fax 213-426-6921 

E-mail: craig.barnes@sedgwicklaw.com 

Web: www.sdma.com 

Contact: Craig S. Barnes 

Specialty: Represents clients in US, Canada, 

Europe and Japan in all areas of music, 

Internet/digital, TV, radio, content, licensing 

and distribution 

SILVER FREEMAN 



310-282-9448, Fax 310-282-2500 

Contact: Barry M. Weisz, Esq 

E-mail: bweisz@silverfreedman.com 

Web: www.silverfreedman.com 

SINDEE LEVIN, ESQ. 

149 S. Barrington Ave. #810 


310-440-8778 Fax 310-440-0059 

E-mail: info@sindeelevinmusic.com, 

lalaw90049@aol.com 

Web: www.SindeeLevinMusic.com, www. 

EntertainmentEstateLawyer.com 

Specialty: Music & Entertainment Law 

*No Unsolicited materials accepted 


Two California Plaza 

350 S. Grand Ave., Ste. 2600 

213-929-2500, Fax 213-929-2525 





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 



310-734-5200 Fax 310-734-5299 

E-mail: ssessa@reedsmith.com 


Contact: Stephen E. Sessa 

STEVEN J. FISHER, ESQ. 

Law Offices of Steven J. Fisher 

4607 Lakeview Canyon Rd., Ste. 320 

Westlake Village, CA 91361 

818-889-9915 Fax 818-889-9916 

E-mail: law@stevenjfisher.com 

Web: www.stevenjfisher.com 

*No unsolicited material, e-mail for permission 

STEVEN R. LOWY ISAACMAN, KAUFMAN 

& PAINTER, PC 

MGM Tower 

10250 Constellation Blvd., Ste. 2900 


310-881-6800 Fax 310-881-6801 

E-mail: info@ikplaw.com 

Web: www.ikplaw.com 




TYLER & WILSON, LLP 



323-655-7180 

E-mail: cjw@tyler-law.com 

Contact: Christine J. Wilson 

Web: www.tyler-law.com 

Specialty: Music and Business Law 

TYRE, KAMINS, KATZ, GRANOF & MENES 



310-553-6822 Fax 310-552-9024 

Contact: Paul I. Menes, Barry A. Menes 


WILLIAMS & KILKOWSKI 

1900 Ave. of the Stars, 25th Fl. 


310-282-8995 Fax 310-282-8930 


ZIFFREN, BRITTENHAM, BRANCA, 

FISHER, GILBERT-LAURIE, STIFFELMAN, 

COOK, JOHNSON & WOLF 

1801 Century Park W. 


310-552-3388 Fax 310-553-7068 



Colorado 

CLINE, WILLIAMS, WRIGHT, 

JOHNSON & OLDFATHER, LLP 

123 N. College Ave., Ste. 300 

Fort Collins, CO 80524 

970-221-2637 Fax 970-221-2638 

Web: www.clinewilliams.com 

Specialty: Intellectual Property and 

Technology Law 

COLSON-QUINN, ATTORNEYS AT LAW 

1503 Spruce 

Boulder, CO 80302 

303-447-0975 Fax 303-447-0970 

E-mail: Joyce@colsonquinn.com 

Web: www.colsonquinn.com 

Contact: Joyce Colsen 


Property 

HOLLAND & HART 

555 Seventeenth St., Ste. 3200 

Denver, CO 80202-3979 

303-295-8000 Fax 303-295-8261 

E-mail: klevoy@hollandhart.com 

Web: www.hollandhart.com 

Contact: Katherine A. LeVoy 


KEVIN E. HOUCHIN, ATTORNEY 

& COUNSELOR AT LAW 

520 N. Sherwood, #5 


970-493-1070 Fax 907-214-6808 

E-mail: kevin.houchin@houchinlaw.com 

Web: www.houchinlaw.com 

Contact: Kevin E. Houchin 

Specialty: Consulting for creative people. 

LEYENDECKER & LEMIRE, LLC 

9137 E. Mineral Cir., Ste. 280 

Centennial, CO 80112 

E-mail: info@coloradoiplaw.com 

Web: www.coloradoiplaw.com 

Specialty: Copyright Law, Trademark Law, 


PERKINS COIE 

1900 Sixteenth St., Ste. 1400 

Denver, CO 80202-5255 

303-291-2300 Fax 303-291-2400 

E-mail: LMacphee@perkinscoie.com 


Contact: Leonard (Len) H. MacPhee 

Specialty: Trademark Law, 


REPLIN & RHOADES & RATNER, LLC 

ENTERTAINMENT LAW, LLC 

222 Milwaukee St., Ste. 304 

Denver, CO 80206 

303-322-7919 

E-mail: lrhoades@replinrhoades.com, 

sreplin@replinrhoades.com, 

dratner@replinrhoades.com 

Web: www.replinrhoades.com 

Contact: Steve Replin or Laurie Rhoades, 

Dave Ratner 

Specialty: Entertainment Law, Copyright Law, 



1200 Seventeenth St., Ste. 1900 

Denver, CO 80202-5854 

303-634-2000 Fax 303-634-2020 




WICK & TRAUTWEIN, LLC 

#3 Clock Tower Sq. 

323 S. College Ave. 

P.O. Box 2166 


907-237-5694, 866-686-1410 

Web: www.wicklaw.com 



421 Main St. 

Windsor, CO 85035 

866-686-1410 

513 Big Thompson Ave. 

Located in Lower Stanley Village 

Estes Park, CO 

970-586-3505 

Connecticut 

CACACE TUSCH & SANTAGATA 

777 Summer St. 

Stamford, CT 06901-1022 

203-327-2000 

Web: www.lawcts.com 


GIARNIERO & ASSOCIATES, LLC 

972 E. Broadway 

Stratford, CT 06615 

203-375-3994 Fax 203-386-0401 

Web: www.giarnierolaw.com 

Contact: Richard Giarniero 


OHLANDT GREELEY RUGGIERO 

& PERLE, LLP 

One Landmark Sq., 10th Fl. 

Stamford, CT 06901-2682 

203-327-4500 Fax 203-327-6401 

E-mail: info@ogrp.com 

Web: www.ogrp.com 


ST. ONGE STEWARD JOHNSTON 

& REENS, LLC 

986 Bedford St. 

Stamford, CT 06905 

203-324-6155 Fax 203-327-1096 

E-mail: info@ssjr.com 

Web: www.ssjr.com 


SUSAN L. MENDE 

39 Jaffe Terr. 

Colchester, CT 06415 

860-537-1176 

E-mail: mendelaw@ctmch.com 

Contact: Susan L. Mende 

Specialty: Legal services & actively seeking 

new clients to manage. No hip-hop please. 

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: marsden@fr.com 

Web: www.fr.com 

Contact: William J. Marsden, Jr. 


JEFFREY R. RAMBERG, LAW OFFICE OF 

273 E. Main St., Ste. G 

Newark, DE 19711 

302-454-6414 Fax 302-454-6414 

E-mail: ramberg@juno.com 

Web: www.ramberglawfirm.com 

Contact: Jeffrey R. Ramberg 

Specialty: transactional intellectual property 

MARKS, O’NEILL, O’BRIEN & COURTNEY 

300 Delaware Avenue, Suite 900 

Wilmington, DE 19801 

302-658-6538 Fax 302-658-6537 

E-mail: ddoherty@mooclaw.com 

Web: www.mooclaw.com 

Contact: Dawn Doherty 


District of Columbia (DC) 


20 F St. N.W., Ste. 500 

S. Washington, DC 20001 

202-737-3234, Fax 202-737-0264 

E-mail: jeffrey.brooks@arlaw.com 




AMERICAN BAR ASSOCIATION 

740 15th St., N.W. 

Washington, DC 20005-1019 

202-662-1000 


321 N. Clark St. 


800-285-2221 

BERLINER, CORCORAN & ROWE 

1101 17th St. N.W., Ste. 1100 


202-293-5555 

E-mail: tgc@bcr-dc.com 

Web: www.bcr.us 

Specialty: Entertainment Law, Copyright Law 

and Internet Law 

GARVEY, SCHUBERT & BARER 

Flour Mill Bldg., 5th Fl. 

1000 Potomac St. N.W. 5th Fl. 


202-965-7880 Fax 202-965-1729 

E-mail: mschneider@gsblaw.com 

Web: www.gsblaw.com 

Contact: Matthew R. Schneider 


KATTEN MUCHIN ROSENMAN, LLP 

2900 K St. N.W. 

North Tower, Ste. 200 


202-625-3500 Fax 202-298-7570 

E-Mail: roger.furey@kattenlaw.com 


Contact: Roger P. Furey 

LAMPERT & O’CONNOR 

1776 K St. N.W., Ste. 700 


202-887-6230 Fax 202-887-6231 

E-mail: lampert@lojlaw.com 

Web: www.lojlaw.com 

Contact: Donna Lampert 



700 12th St., N.W. , Ste. 1100 


202-585-6500 Fax 202-585-6600 



PERKINS COIE 

700 Thirteenth St., N.W. 


202-654-6200 Fax 202-654-6211 

E-mail: WMalley@perkinscoie.com 


Contact: William G. Malley 


Property 


1001 Pennsylvania Ave., N.W., Ste. 400 S. 


202-416-6800 Fax 202-416-6899 

E-mail: tchaplick@proskauer.com 




disputes 


STEPTOE & JOHNSON 

1330 Connecticut Ave. N.W. 


202-429-3000 Fax 202-261-7537 

Web: www.steptoe.com 

Specialty: Contracts and Intellectual Property 

VENABLE, LLP 

575 7th St., N.W. 


202-344-4000 Fax 202-344-8300 

Web: www.venable.com 


Florida 

ALLEN L. JACOBI 

11077 Biscayne Blvd., Ste. 200 


305-893-2007 

E-mail: alj@pyramidrecords.net 

Web: www.pyramidrecords.net 

Contact: Allen Jacobi 

Specialty: All entertainment-related services 

DAVID BERCUSON, PA, LAW OFFICES OF 

Town Center One, Ste. 1813 

8950 Southwest 74 Court 


305-670-0018 Fax 305-670-0019 

E-mail: DBercuson@aol.com 

Web: www.bercusonlaw.com 

Contact: David Bercuson 

Specialty: specialist in domestic & foreign 

music licensing and obtaining deals for artists 


2255 Glades Rd., Ste. 421 Atrium 

Boca Raton, FL 33431-7360 

561-241-7400, Fax 561-241-7145 

E-mail: dpratt@proskauer.com 


Contact: David Pratt 



disputes 


RICHARD N. FRIEDMAN, LAW OFFICES OF 

8925 S.W. 148th St., Ste. 200 

Palmetto Bay, FL 33176 

305-666-2747 Fax 305-666-2748 

Contact: Richard N. Friedman 

Specialty: Independent Producers, Labels, 

Musicians, Talent 

ROMANELLO PROFESSIONAL 

ASSOCIATION 

1560 Sawgrass Corporate Pkwy., 4th Fl. 

Sunrise, FL 33323 

954-331-8020 Fax 954-827-0472 

Contact: Steven Romanello 

Specialty: Entertainment Law, Contracts, 

Label Shopping, Negotiations 

Georgia 

ALAN S. CLARKE, LAW OFFICES OF 

3355 Lenox Rd., Ste. 750 


404-816-9800 Fax 404-816-0555 

E-mail: aclarke@entertainlaw.com 

Web: theentertainmentlawgroup.com 

Contact: Alan Clarke 


BALSER & GRELL IP LAW, LLC 

3330 Cumberland Blvd., Ste. 500 


678-202-5990 

E-mail: mgrell@bgiplaw.com 

Web: www.trwiplaw.com 

Specialty: Patents, Trademarks, Copywrights 

HOLLAND & KNIGHT 

1201 W. Peachtree St., Ste. 2000 


404-817-8500 Fax 404-881-0470 

E-mail: robert.highsmith@hklaw.com 

Web: www.hklaw.com 

Contact: Robert Highsmith Jr. 

Specialty: Entertainment Law, Contract Law 

LOVETTE ENTERTAINMENT LAW 

GROUP, LTD. 

702 Hillpine Drive, NE 


404-583-4095 

E-mail: cliff.lovette@lovettegroup.com 

Web: www.lovettegroup.com 

Contact: Cliff Lovette 


Film/TV Law, Copyrights 

MINTER & ASSOCIATES 

5398 E. Mountain St. 

Stone Mountain, GA 30083 

770-879-7400 Fax 770-879-5695 

E-mail: kamlaw@aol.com 

Web: www.kendallminteresq.com 

Contact: Kendall Minter 

Specialty: Entertainment Law, 


SANDRA L. BROWN, PC, THE LAW 

OFFICES OF 

191 Peachtree St., Ste. 3300 


404-946-1850 Fax 404-946-1954 

E-mail: info@slbpc.com 

Web: www.slbpc.com 

Contact: Sandra L. Brown 

Specialty: Music law 

WOODCOCK WASHBURN 

1180 Peachtree St., N.E., Ste. 1800 

Atlanta, GA 30309-0163 

E-mail: info@woodcock.com 

Web: www.woodcock.com 


YEMANE CLARKE, ATTORNEY 

2221 Peachtree Rd., N.E., Ste. X13 


678-274-9097 

Web: http://www.clarkelegal.com 

Contact: Yemane Clarke 


January 2013 


69



Hawaii 

MCPHERSON RANE, LLP 

840 Wainee St., Ste. 104 

Lahaina, Maui, HI 92761 

808-662-4884 

E-mail: firm@mcphersonrane.com 

Web: www.mcphersonrane.com 

GODBEY, GRIFFITHS, REISS, LLLP 

1003 Bishop St., Ste. 2300, Pauahi Twr. 

Honolulu, HI 96813 

808-537-1014 

Web: www.lawhi.com 


Idaho 

DYKAS, SHAVER & NIPPER, LLP 

1403 W. Franklin St. 

Boise, ID 83702-5024 

208-345-1122, 877-611-1122 

E-mail: f@dykaslaw.com 

Web: www.dykaslaw.com 

Specialty: Intellectual Property & Litigation 

HAWLEY, TROXELL, ENNIS 

& HAWLEY, LLP 

877 Main St., Ste. 1000 

Boise, ID 83702 

208-344-6000 

E-mail: info@hawleytroxell.com 

Web: www.hawleytroxell.com 



401 Front St., Ste. 212 

Coeur d’Alene, ID 83814 

208-765-7693 

333 S. Main St. 

Pocatello, ID 83204 

208-233-0845 

PEDERSEN AND COMPANY, PLLC 

1410 N. 28th St. 


208-343-6355 Fax 208-343-6341 

E-mail: ip@pedersenco.com 

Web: www.pedersenco.com 

Contact: Ken J. Pedersen or Barbara S. 

Pedersen 


PERKINS COIE 

111 W. Jefferson St., Ste. 500 

Boise, ID 83702-5391 

208-343-3434 Fax 208-343-3232 

E-mail: RMaynard@perkinscoie.com 


Contact: Robert A. Maynard 


Property 

ZARIAN, MIDGLEY & JOHNSON, PLLC 

960 Broadway Ave., Ste. 250 


208-562-4900 Fax 208-562-4901 

E-mail: herberholz@zarianmidgley.com 

Web: www.zarianmidgley.com 

Contact: Dana M. Herberholz 

Specialty: Intellectual Property Litigation, 

Patents, Trademarks & Copyrights 

Illinois 

ENTERTAINMENT LAW OFFICE OF PC 

208 S. LaSalle #1400 


312-641-5300 Fax 312-641-5301 

E-mail: legal@ent-law.net 

Web: www.www.ent-law.net 

Contact: Hillel Frankel 

Specialty: Intellectual Property Rights 

GOLDBERG GROUP, THE 

1 Northfield Plaza, Ste. 300 

Northfield, IL 60093 

773-388-2784 Fax 773-828-8008 

E-mail: phil@seraphonline.com 

Web: www.goldberggrouplaw.com 

Contact: Phil Goldberg 


JAY B. ROSS & ASSOCIATES, PC 

840 W. Grand Ave. 

Chicago, IL 60642-6565 

312-633-9000 

E-mail: Jay@jaybross.com 

Web: www.jaybross.com 

Contact: Jay B. Ross 


KATTEN, MUCHIN & ROSENMAN 

525 W. Monroe St. 


312-902-5200 Fax 312-902-1061 

E-mail: vincent.sergi@kattenlaw.com 


Contact: Vincent A.F. Sergi 

Specialty: Trademark, Copyright, 

Entertainment Litigation 

LINDA S. MENSCH, PC 

161 N. Clark St., Ste. 4300 


312-602-5049 Fax 312-698-7449 

E-mail: menschlaw@yahoo.com 

Web: www.menschlaw.com 

Contact: Linda Mensch 



321 N. Clark, Ste. 2300 


312-464-3100 Fax 312-464-3111 

E-mail: jmanton@loeb.com 



PERKINS COIE 

131 S. Dearborn St., Ste. 1700 

Chicago, IL 60603-5559 

312-324-8400 Fax 312-324-9400 

E-mail: CWilson@perkinscoie.com 


Contact: Christopher (Chris) B. Wilson 


Property 

SMITH AMUNDSEN, LLC 

150 N. Michigan Ave., Ste. 3300 


312-894-3358 Fax 312-894-3210 

E-mail: Brosenblatt@salawus.com 

Web: www.salawus.com 

Contact: Brian Rosenblatt 

Specialty: Ent., Media, Privacy, and 


Indiana 

BARNES & THORNBURG, LLP 

11 S. Meridian St. 

Indianapolis, IN 46204-3535 

317-236-1313 Fax 317-231-7433 

E-mail: bob.grand@btlaw.com 

Web: www.btlaw.com 

Contact: Robert T. Grand 


BENESCH ATTORNEYS AT LAW 

One American Sq., Ste. 2300 

Indianapolis, IN 46282 

317-632-3232 Fax 317-632-2962 

Web: www.beneschlaw.com 


LEWIS & KAPPES, PC 

One American Sq., Ste. 2500 

Indianapolis, IN 46282-0003 

317-639-1210 Fax 317-639-4882 

Web: www.lewis-kappes.com 

Contact: Dave S. Klinestiver 



1630 W. Oak St. 

Zionsville, IN 46077 

317-733-1140 Fax 317-733-1364 

Iowa 

MCKEE, VOORHEES & SEASE, PLC 

801 Grand Ave., Ste. 3200 

Des Moines, IA 50309-2721 

515-288-3667 Fax 515-288-1338 

E-mail: ed.sease@ipmvs.com 

Web: www.ipmvs.com 

Contact: Ed Sease 


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: info@zarleylaw.com 

Web: www.zarleylaw.com 


Kansas 

FLEESON, GOOING, COULSON 

& KITCH, LLC 

1900 Epic Ctr. 

301 N. Main St. 

Wichita, KS 67202 

316-267-7361 

E-mail: fleeson@fleeson.com 

Web: www.fleeson.com 


FOULSTON SIEFKIN, LLP 

1551 N. Waterfront Pkwy., Ste. 100 

Wichita, KS 67206-4466 

316-267-6371, 800-267-6371 

Web: www.foulston.com 



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, GREENBAUM, DOLL, LLP 

3500 National City Twr. 

101 S. Fifth St. 

Louisville, KY 40202-3140 

502-589-4200 Fax 502-587-3695 

Web: www.greenebaum.com 



300 W. Vine St., Ste. 1100 

Lexington, KY 40507-1622 

859-231-8500 Fax 859-255-2742 

LYNCH, COX, GILMAN & GOODMAN 

500 W. Jefferson St., Ste. 2100 

Louisville, KY 40202 

502-589-4215 

E-mail: atty@lcgandm.com 

Web: www.lynchcoxlaw.com 


MIDDLETON REUTLINGER 

401 S. Fourth St. , Ste. 2600 

Louisville, KY 40202 

502-584-1135 

E-mail: lhuber@middreut.com 

Web: www.middreut.com 

Contact: Lisa Brones Huber 


Louisiana 


One Shell Sq. 

701 Poydras St., Ste. 4500 

New Orleans, LA 70139 

504-581-3234 

E-mail: paige.sensenbrenner@arlaw.com 


Contact: E. Paige Sensenbrenner 




450 Laurel St., Ste. 1900 

Baton Rouge, LA 70801 

225-336-5200 

E-mail: tom.clark@arlaw.com 

Contact: V. Thomas Clark, Jr. 

EVELINE, DAVIS & PHILLIPS 

5811 Tchoupitoulas St. 


504-782-8803 

E-mail: geveline@edp.nocoxmail.com 

Web: www.nolaentertainmentlaw.com 

Contact: Ashlye M. Keaton, Esq. 

Specialty: Entertainment Law, Copyright Law, 

Trademark Law 

MICHAEL D. ALLDAY 

830 Union St., Ste. 301 


504-528-2828 Fax 504-581-7083 

E-mail: info@allday-law.com 

Web: www.allday-law.com 

Contact: Michael D. Allday 

Specialty: Music Law, Entertainment Law 

Maine 

EATON PEABODY, PA 

80 Exchange St. 

Bangor, ME 04401 

207-947-0111 Fax 207-942-3040 

Web: www.eatonpeabody.com 



77 Sewall St., Ste. 3000 

Augusta, ME 04330 

207-622-3747 Fax 207-622-9732 

167 Park Row #1 

Brunswick, ME 04011 

207-729-1144 Fax 207-729-1140 

RUDMAN & WINCHELL, LLC 

84 Harlow St. #4 

Bangor, ME 04402-1401 

207-947-4501 Fax 207-941-9715 

Web: www.rudman-winchell.com 


& Copyright Law 

Maryland 

CHARLES JEROME WARE, PA 

10630 Little Patuxent Pkwy., Ste. 113 

1000 Century Plaza Building 

Columbia, MD 21044 

410-730-5016, 410-720-6129 

Fax 410-730-7603 

E-mail: charlesjeromeware@msn.com 

Web: www.charlesjeromeware.com 


LARRY J. GUFFEY 

401 E. Pratt St., Ste. 1800 


410-659-9550 Fax 410-659-9549 

E-mail: larry@GuffeyLaw.com 

Web: www.guffeylaw.com 

Specialty: Intellectual Property, Trademark 

& Patents 


600 Baltimore Ave., Ste. 305 

Towson, MD 21204 

410-339-6880 Fax 410-339-6881 

E-mail: mhamilton@mooclaw.com 


Contact: Michael T. Hamilton 


MARYLAND VOLUNTEER LAWYERS 

SERVICE 

One N. Charles St., Ste. 222 


410-547-6537 800-510-0050 

E-mail: info@mvlslaw.org 

Web: www.mvlslaw.org 

VENABLE, LLP 

750 E. Pratt St., Ste. 900 


410-244-7400 Fax 410-244-7742 




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: www.apslaw.com 


BINGHAM 

One Federal St. 

Boston, MA 02110-1726 

617-951-8000 

E-mail: info@bingham.com 


Specialty: Telecommunications, Media 

and Technology 

BURNS & LEVINSON, LLP 

125 Summer St. 

Boston, MA 02110 

617-345-3000 Fax 617-345-3299 

E-mail: sstenger@burnslev.com 

Web: www.burnslev.com 

Contact: Susan E. Stenger 

Specialty: Music Law, Litigation 

CESARI & MCKENNA, LLP 

88 Black Falcon Ave. 


617-951-2500 Fax 617-951-3927 

Web: www.c-m.com 


DAVID HERLIHY, LAW OFFICES OF 

E-mail: contact@herlihylaw.com 

Web: www.herlihylaw.com 

Contact: David Herlihy 


PATTI JONES, ATTORNEY AT LAW 

20 Park Plaza 


617-948-2139 Fax 617-948-2501 

E-mail: patti@pattijones.com 




Web: www.pattijones.com 

Contact: Patti Jones 

Specialty: music, literary publishing, media 

and independent film 


One International Pl., 14th Fl. 

Boston, MA 02110-2600 

617-526-9600 

E-mail: jcapraro@proskauer.com 


Contact: Joseph A. Capraro, Jr. 


commercial and entertainment related disputes 


RISSMAN, JOBSE, HENDRICKS & 

OLIVERIO, LLP 

Saltonstall Building 

100 Cambridge St., Ste. 2101 


617-367-4600 Fax 617-367-4656 

E-mail: info@rjholaw.com 

Web: www.rjholaw.com 


WOLF, GREENFIELD & SACKS, PC 

600 Atlantic Ave. 

Boston, MA 02210-2206 

617-646-8000 Fax 617-646-8646 

E-mail: info@wolfgreenfield.com 

Web: www.wolfgreenfield.com 

Contact: Sara Crocker, Director of Client 

Services 


Michigan 

DYKMA 

400 Renaissance Ctr. 

Detroit, MI 48243 

313-568-6800 Fax 313-568-6893 

E-mail: sfarrell@dykema.com 

Web: www.dykema.com 

Contact: Sherrie Farrell 



2723 S. State St., Ste. 400 

Ann Arbor, MI 48104 

734-214-7660 Fax 734-214-7696 

E-mail: jcameron@dykema.com 

Contact: James Cameron 

FOLEY & LARDER, LLP 

One Detroit Ctr. 

500 Woodward Ave., Ste. 2700 

Detroit, MI 48226-3489 

313-234-7100 Fax 313-234-2800 

Web: www.foley.com 


HERTZ SCHRAM 

1760 S. Telegraph Rd., Ste. 300 

Bloomfield Hills, MI 48302 

248-494-4486. 866-775-5987 

Web: www.hertzschram.com 

Contact: Howard Hertz 


Litigation 

HONIGMAN MILLER SCHWARTZ 

& COHN, LLP 

2290 First National Bldg. 

660 Woodward Ave. 


313-465-7000 Fax 313-465-8000 

Web: www.honigman.com 



222 N. Washington Sq., Ste. 400 

Lansing, MI 48933 

Contact: Kenneth Brooks 

E-mail: kbrooks@honigman.com 

517-484-8282 Fax 517-482-8286 

JAFFE, RAITT, HEUER & WEISS 

500 Griswold, Ste. 2400 


313-961-1200 

Web: www.jaffelaw.com 



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: permut@reising.com 

Contact: Steven L. Permut 

Web: www.reising.com 

Specialty: Intellectual Property Law 

Minnesota 

DORSEY & WHITNEY, LLP 

50 S. Sixth St., Ste. 1500 

Minneapolis, MN 55402-1498 

612-340-2600 Fax 612-340-2868 

E-mail: Minneapolis@dorsey.com 


Contact: Robert A. Rosenbaum 


ERIC D. BULL, ATTY. 

126 N 3rd St. Ste. 415 


612-354-3644 Fax 612-354-3645 

Web: www.ebull-law.com 

Contact: Eric Bull 

Specialty: Specializes in Indie artists 

LOMMEN ABDO COLE KING & 

STAGEBERG 

2000 IDS Ctr., 80 S. Eight St. 


800-752-4297 612-339-8131 

Fax 612-339-8064 

E-mail: ken@lommen.com 

Web: www.lommen.com 

Contact: Ken Abdo 


PATTERSON THUENTE, IP 

4800 IDS Center 

80 S. 8th St. 

Minneapolis, MN 55402-2100 

612-349-5740, 800-4537-4537 

E-mail: davis@ptslaw.com 

Contact: Aaron Davis 

Web: www.ptslaw.com 

Specialty: Intellectual Property, Litigation, 

Arts & Entertainment Law 

Mississippi 


300 Renaissance 

1018 Highland Colony Pkwy., Ste. 800 

Ridgeland, MS 39157 

601-353-3234 Fax 601-355-9708 

E-mail: john.hooks@arlaw.com 


Contact: John S. Hooks 



Missouri 

HUSCH BLACKWELL 

4801 Maine St., Ste. 1000 

Kansas City, MO 64112 

816-983-8000 Fax 816-983-8080 

E-mail: benjamin.mann@huschblackwell.com 

Web: www.huschblackwell.com 

Contact: Benjamin Mann 

Specialty: Media & Creative Arts 


The Plaza in Clayton 

190 Carondelet Plaza, Ste. 600 


314-480-1500 Fax 314-480-1505 

E-mail: carrie.hermeling@huschblackwell.com 

Web: www.huschblackwell.com 

Contact: Carrie Hermeling 

Specialty: Copyrights to Publishing, Band 

Names to Merchandising 

LATHROP & GAGE, LC 

7701 Forsyth Blvd., Ste. 500 

Clayton, MO 63105 

314-613-2800 Fax 314-613-2801 

E-mail: smalin@lathropgage.com 

Web: www.lathropgage.com 

Contact: Scott Malin 


SPENCER, FANE, BRITT & BROWNE 

1 N. Brentwood Blvd., Ste. 1000 


314-863-7733 Fax 314-862-4656 

E-mail: tosterholt@spencerfane.com 

Web: www.spencerfane.com 



Montana 

ANTOINETTE M. TEASE, PLLC 

175 N. 27th St, Ste. 1206 

Billings, MT 59101 

406-294-9000, 406-591-3689 

E-mail: toni@teaselaw.com 

Web: www.teaselaw.com 

Contact: Antoinette M. Tease 



CROWLEY, FLECK, LLP 

490 N. 31st St., Ste. 500 

Billings, MT 59101 

406-252-3441 Fax 406-256-8526 

Web: www.crowleylaw.com 

Contact: Joe Kresslein 


125 Bank St., Ste. 600 

Missoula, MT 59802-4407 

406-721-6025 866-770-7104 

E-mail: manning.jack@dorsey.com 


Contact: Jack Manning 


WORDEN THANE, PC 

111 N. Higgins, Ste. 600 

P.O. Box 4747 

Missoula, MT 59806 

406-721-3400 800-337-3567 

Web: www.wthlaw.net 

Contact: Worden Thane 


Nebraska 

ABRAHAMS, KASLOW & CASSMAN, LLP 

8712 W. Dodge Rd., Ste. 300 


402-392-1250 Fax 402-392-0816 

E-mail: attorneys@akclaw.com 

Web: www.akclaw.com 


CLINE, WILLIAMS, WRIGHT, 

JOHNSON & OLDFATHER, LLP 

1125 S. 103rd St., Ste. 600 


402-397-1700 Fax 402-397-1806 

E-mail: jmiles@clinewilliams.com 

Web: www.clinewilliams.com 

Contact: John C. Miles 




1900 U.S. Bank Bldg. 

233 S. 13th St. 

Lincoln, NE 68508 

402-474-6900 

KUTAK ROCK, LLP 

The Omaha Building 

1650 Farnam St. 

Omaha, NE 68102-2186 

402-346-6000 Fax 402-346-1148 

Web: www.kutakrock.com 


PARSONAGE VANDENACK WILLIAMS, LLC 

5332 S. 138th St., Ste. 100 

Omaha, NE 68137-2974 

402-504-1300 Fax 402-504-1935 

Web: www.pvwlaw.com 

Contact: Mark A.Williams 

Specialty: Intellectual Property, Trademarks 

& Copyrights 

Nevada 

GREENBERG, TRAURIG 

3773 Howard Hughes Pkwy., Ste. 400 N. 

Las Vegas, NV 89169 

702-792-3773 Fax 702-792-9002 


Specialty: Entertainment and intellectual 

properties 

PHILIP A. KANTOR, PC, LAW OFFICES OF 

1781 Village Center Cir., Ste. 120 


702-255-1300, 888-575-2295 

Web: www.thekantorlawfirm.com 



3883 Howard Hughes Pkwy., Ste. 1100 

Las Vegas, NV 89169-5958 

702-784-5200 Fax 702-784-5252 





6100 Neil Rd., Ste. 555 

Reno, NV 89511 

775-829-6000 Fax 775-829-6001 

WATSON ROUNDS 

10000 W. Charleston Blvd., Ste. 240 


702-636-4902 Fax 702-636-4904 

E-mail: vegasinfo@watsonrounds.com 

Web: www.watsonrounds.com 



5371 Kietzke Ln. 

Reno, NV 89511 

775-324-4100 

E-mail: renoinfo@watsonrounds.com 

WEIDE & MILLER, LTD 

7251 W. Lake Mead Blvd., Ste. 530 


702-382-4804 Fax 702-382-4805 

Web: www.weidemiller.com 

Specialty: Intellectual property and 

technology law 

New Hampshire 

GALLAGHER, CALLAHAN 

& GARTRELL, PC 

214 N. Main St. 

P.O. Box 1415 

Concord, NH 03302-1415 

603-228-1181 800-528-1181 

Web: www.gcglaw.com 

Specialty: Intellectual property 

MAINE, CERNOTA & RARDIN 

547 Amherst St., 3rd Fl. 

Nashus, NH 03063-4000 

603-886-6100 

E-mail: info@mcr-ip.com 

Web: www.mcr-ip.com 

Specialty: Intellectual property 

SHAHEEN & GORDON, PA 

80 Merrimack St. 

Manchester, NH 03101 

603-669-8080, 800-343-1263 

Web: www.shaheengordon.com 

Specialty: Trademark, Copyrights 


P.O. Box 2703 

107 Storrs St. 

Concord, NH 03302 

603-225-7262 800-281-4411 

P.O. Box 977 

140 Washington St., 2nd Fl. 

Dover, NH 03821-0977 

603-749-5000 800-451-1002 

New Jersey 


6981 N. Park Dr., Ste. 300 

Pennsauken, NJ 08109 

856-663-4300 Fax 856-663-4439 

E-mail: skelly@mooclaw.com 


Contact: Sean X. Kelly 


MCCARTER & ENGLISH, LLP 

100 Mulberry St. 

Newark, NJ 07102 

973-622-444 Fax 973-624-7070 

E-mail: info@mccarter.com 

Web: www.mccarter.com 

Specialty: Litigation, Intellectual 

Property, Trademark, Copyright, Contracts 

PAUL B. UNGAR 

16 Monmouth Ave. 

Edison, NJ 08820 

732-906-2061 Fax 732-906-2081 

E-mail: paul@paulbungar.com 

Web: www.paulbungar.com 

Contact: Paul Ungar 

Specialty: Entertainment Law, Intellectual 

Property, Trademark, Copyright 


One Newark Center 

Newark, NJ 07102 

973-274-3200 

E-mail: Lsandak@proskauer.com 


Contact: Lawrence R. Sandak 




New Mexico 

DAVID CARLSON SMITH, PC 

215 Lincoln Ave., Ste. 105 

Santa Fe, NM 87501 

505-988-8868 Fax 505-988-2746 

Contact: David Carlson Smith 

Web: www.davidcarlsonsmithlaw.com 

January 2013 


71



Specialty: Entertainment Law, Copyright, 

Trademark Law 

LEWIS AND ROCCA, LLP 

201 Third St. N.W., Ste. 1950 

Albuquerque, NM 87102 

505-764-5400 Fax 505-764-5480 

E-mail: RCcrown@LRlaw.com 

Web: www.lrlaw.com 

Contact: Ross Crown 


Trademarks & Copyrights 

New York 

ARTHER LAW FIRM, THE 

1221 Avenue of Americas, 42nd Fl. 

New York, NY 10020-1001 

888-520-4529, 212-713-0138 

Web: www.artherlaw.com 

Contact: Anthony Arther 

Specialty: Free Consultation, Demo & Deal 

Shopping, Music, Film & Fashion matters 


670 Franklin Ave. 


ASSOCIATION OF THE BAR OF 

THE CITY OF N.Y. 

42 W. 44th St. 


212-626-7373 

Web: www.ilawyer.com 

BELDOCK, LEVINE & HOFFMAN 

99 Park Ave., Ste. 1600 


212-490-0400 800-275-4977 

E-mail: info@blhny.com 

Web: www.blhny.com 

Contact: Peter Matorin 


Property 

BINGHAM 

399 Park Ave. 


212-705-7000 

E-mail: scott.bluni@bingham.com 


Contact: Scott T. Bluni 

CARROLL, GUIDO & GROFFMAN, LLP 



212-759-2300 Fax 212-759-9556 



CHRISTOPHER HOYT, ESQ. 

The Hoyt Law Group, LLC 

Empire State Building 

350 Fifth Ave., Ste. 7315 


212-268-3414 Fax 212-629-8691 

E-mail: info@cwhesq.com 

Web: www.cwhesq.com 

Specialty: Entertainment and Business Law 


CODISPOTI & MANCINELLI, 


111 John St., Ste. 800 


212-962-6525 Fax 212-962-6791 

E-mail: bruno@codispotilaw.com 

Web: www.codispotilaw.com 

Contact: Bruno Codispoti 


COWAN, DEBAETS, ABRAHAMS & 

SHEPPARD, LLP 



212-974-7474 Fax 212-974-8474 

E-mail: info@cdas.com 

Web: www.cdas.com 

Contact: Robert Siegel 





DAVIS WRIGHT TREMAINE, LLP 


New York, NY 10019-6708 

212-489-8230 Fax 212-489-8340 

E-mail: info@dwt.com 




51 West 52nd St. 

New York, NY 10019-6119 

212-415-9200 800-250-4811 

E-mail: newyork@dorsey.com 


Contact: Robert J. Dwyer, Jr. 


EDWARD M. KELMAN, ATTORNEY AT LAW 

100 Park Ave., 20th Fl. 


212-371-9490 Fax 212-750-1356 

E-mail: emknyc@aol.com 

Contact: Edward Kelman 


FAIRBANKS-FLETCHER, PLLC 

P.O.Box 4760 

Saratoga Springs, NY 12866 

518-581-8600 

Web: www.fairbanksfletcherlaw.com 

Contact: Elizabeth Fletcher 

Specialty: Film, TV, and home video, record 

distribution and music publishing 


100 Wall St., 20th Fl. 

New York, NY 10005-3708 

212-431-8700 Fax 212-334-1278 

E-mail: mschneider@gsblaw.com 


Contact: Matthew R. Schneider 


GEORGE T. GILBERT 

ATTORNEY AT LAW 

826 Broadway, Fourth Fl. 


212-677-5891 Fax 212-677-5893 

E-mail: musicesq@gmail.com; Skype: 

musicesq AIM: ggilbert54 

Web: www.linkedin.com/in/georgegilbert 

Specialty: Intellectual Property, Entertainment 

law with focus on the music industry 

GEORGE STEIN, LAW OFFICES OF 

270 Madison Ave., Ste. 1410 


212-683-5320 Fax 212-686-2182 

E-mail: georgestein@earthlink.net 

Web: www.georgesteinlaw.com 

Contact: George Stein 


Copyrights 

GOTTLIEB, RACKMAN & REISMAN 



212-684-3900 Fax 212-684-3999 

E-mail: info@grr.com 

Web: www.grr.com 

Contact: Barry A. Cooper 



1225 Franklin Ave. 

Garden City, NY 11530 

516-495-7924 Fax 516-873-8881 

GREENBERG TRAURIG 

Met Life Bldg. 

200 Park Ave. 


212-801-9200 Fax 212-801-6400 


Specialty: Music Law & Entertainment Law 

HEYMAN LAW 

26 Perry St., Ste. 4-A 


212-414-9522 

E-mail: info@heylaw.com 

Web: www.heylaw.com 

Specialty: Entertainment Law, Copyright, 

Trademark, New Media 

JEFFREY GANDEL, LAW OFFICES OF 

1623 3rd Ave., Ste. 22A 


212-289-0709 Fax 212-289-0686 

E-mail: jeff@gandellaw.com 

Web: www.gandellaw.com 

Contact: Jeffrey Gandel 

Specialty: Music Law, Film Law, Litigation 

JOEL BROOKS 

265 S. Service Rd., Ste. 240 

Jericho, NY 11753 

516-338-0533 

Contact: Joel Brooks 

Specialty: Music Law 

JEKIELKE 7 JANIS LLP 

295 Madison Ave., 22nd Fl. 


212-686-7008 Fax 212-686-7113 

Web: www.jekieleklaw.com 

Contact: Jon Jekielek 


KATTEN, MUCHIN & ROSENMAN 



212-940-8800 Fax 212-940-8776 

E-mail: henry.bregstein@kattenlaw.com 


Contact: Henry Bregstein 


KIA LAW FIRM 

234 5th Ave., Ste. 405 


212-679-4200 Fax 212-679-4155 

E-mail: info@kialawfirm.com 

Web: www.kialawfirm.com 


LAWRENCE LIGHTER, LAW OFFICES OF 



212-371-8730 Fax 212-753-3630 

E-mail: musiclawa1@aol.com 

Contact: Lawrence Lighter 


LEVINSOHN ASSOCIATES, P.C. 



212-262-1000 

E-Mail: assistant@entlawfirm.com 

Web: www.entlawfirm.com 

Specialty: I.P. and Copyright 


345 Park Ave. 

New York, NY 10154-1895 

212-407-4000 Fax 212-407-4990 

E-mail: jmanton@loeb.com 




STAGEBERG 

133 W. 25th St., 5th Fl. 


212-683-8775 800-752-4297 

E-mail: bobdonnelly@lommen.com 


Contact: Bob Donnelly 



7 Times Sq. 


212-790-4500 Fax 212-790-4545 




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 


212-486-6001 Fax 212-486-4608 

E-mail: marvin@mkatzlaw.net 

Web: www.mkatzlaw.net 

Contact: Marvin Katz 

Specialty: Contracts, Mergers, 

Acquisitions, Music Publishing 

MATTHEW L. KLETTER 

Law Office of Matthew L. Kletter, PLLC 

31 Mamaroneck Ave., Ste. 154 

White Plans, NY 10601 

914-681-5191, Cell 914-844-5766 

Fax 914-206-3561 

E-mail: mkletter@msn.com 

Web: www.linkedin.com/in/mkletter 

Contact: Matthew Kletter 


MELONI & MCCAFFREY, PC 



212-520-6089 

E-mail: r.meloni@m2law.net 

Web: www.robertmeloni.com 

Contact: Robert S. Meloni 

Specialty: Entertainment & I.P. Litigation 

PELOSI, WOLF, EFFRON & SPATES 

233 Broadway, 22nd Fl. 


212-334-4801 Fax 212-571-9149 

Web: www.pwes.com 

Contact: John Pelosi 


Music Law, Intellectual Property 

PERKINS COIE 

30 Rockefeller Plaza, 25th Floor 


212-262-6900, Fax 212-977-1649 

E-mail: SCarroll@perkinscoie.com 


Contact: Schuyler G. Carroll 



PETER M. THALL, LAW OFFICES OF 

10 W. End Ave., Ste. 7K 


212-245-6221 Fax 212-245-6406 

E-mail: pthall@thallentlaw.com 

Web: www.theallenlaw.com 

Contact: Peter Thall 

Specialty: Music Law, Entertainment Law, 

Internet Law 


Eleven Times Square 

New York, NY 10036-8299 

212-969-3000 





PRYOR, CASHMAN, LLP 

7 Times Square 


212-421-4100 Fax 212-326-0806 

E-mail: firm@pryorcashman.com 

Web: www.pryorcashman.com 

Contact: James A. Janowitz 



RANDALL M. CUTLER, ESQ. 

10 Westway 

Bronxville, NY 10708 

601-783-6656 Fax 914-779-1213 

E-mail: randall.cutler@verizon.net 

Contact: Randall M. Cutler, Esq. 


REDENTE LAW, PLLC 

305 Broadway, Ste. 804 


646-678-1581 

E-mail: info@redentelaw.com 

Web: www.redentelaw.com 

Contact: Gary Redente 


RITHOLZ LEVY SANDERS 

CHIDEKEL & FIELDS, LLP 

235 Park Ave. S., 3rd Fl. 


212-448-1800 

E-mail: hello@rlscf.com 

Web: www.rlscf.com 





310-282-9449 

ROBERT A. CELESTIN, ESQ. 

250 W. 57th St., Ste. 2331 


212-262-1103 

Web: www.raclawfirm.com 

Contact: Robert A. Celestin 


ROBINSON BROG LEINWAND GREENE 

GENOVESE AND GLUCK, PC 

875 Third Ave. 


212-603-6300, 800-431-1473 

Web: www.robinsonbrog.com 


Indie Label Consulting, Contracts 

RUBIN, BAILIN, LLP 



212-935-0900 Fax 212-826-9307 

E-mail: mbailin@rbolaw.com 

Contact: Marc Bailin 


SELVERNE & CO, PLLC 

83 Riverside Dr. 


212-259-3900 Fax 888-709-8533 

E-mail: invo@selverne.com 

Web: www.selverne.com 

Contact: Michael Selverne 

Specialty: Corporate transactions related to 

Entertainment/Talent representation 

SENDROFF & BARUCH, LLP 

1500 Broadway, Ste. 2001 


212-840-6400 Fax 212-840-6401 

E-mail: msendroff@sendroff.com 




Web: www.sendroff.com 

Contact: Mark Sendroff 


SERLING, ROOKS, FERRARA, 

MCCKOY & WOROB, LLP 

119 5th Ave., 3rd Fl. 


212-245-7300 Fax 212-586-5175 

E-mail: jls@srfllp.com 

Web: www.srflip.com 

Contact: Joseph Lloyd Serling 

Specialty: Entertainment Law, Music Law 

SHUKAT ARROW HAFER WEBER & 

HERBSMAN, LLP 

111 W. 57th St., Ste. 1120 


212-245-4580 Fax 212-956-6471 

E-mail: info@musiclaw.com 

Web: www.musiclaw.com 

Contact: Jonas Herbsman 


Copyrights, Contracts 

SLOSS ECKHOUSE BRENNAN LAW CO 

555 W 25th St. 4th Fl. 


212-627-9898 Fax 212-627-9498 

E-mail: office@slosslaw.com 

Web: www.slosslaw.com 

Contact: Josh Grier 


STAIRS, DILLENBECK, FINLEY 

200 Park Ave. S. 


212-697-2700 Fax 212-687-3525 

E-mail: stairs@stairsdillenbeck.com 

Web: www.stairsdillenbeck.com 

Specialty: Enterainment Law 

TIERNEY & TIERNEY 

ENTERTAINMENT LAW 

409 Rte. 112 

Port Jefferson Station, NY 11776 

631-928-1444 

E-mail: info@tierneylaw.net 

Web: www.tierneylaw.net 

Contact: John Tierney 


TOOROCK & ROSEN 

20 W. 20th St., Ste. 403 


212-647-8100 

Contact: Michael Toorock 


VOLUNTEER LAWYERS FOR THE ARTS 

1 E. 53rd St., 6th Fl. 


212-319-2787 ext. 1 

E-mail: epaul@vlany.org 

Web: www.vlany.org 

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: gerbs@prodigy.net 

Contact: Andrew Gerber 


Copyright and tradmark law, Business 

Planning 

RICHARD NOEL GUSLER, 


107 Glenwood Ave. 

Raleigh, NC 27603 

919-582-2150 Fax 919-582-2151 

E-mail: rgusler@gusler.com 

Web: www.gusler.com 

Contact: Richard Gusler 


North Dakota 


3203 32nd Ave., S., Ste. 103 

P.O. Box 1344 

Fargo, ND 58107-1344 

701-235-6000 Fax 701-235-9969 

E-mail: herman.sarah@dorsey.com 


Contact: Sarah Andrews Herman 


NEUSTEL LAW OFFICES, LTD 

2534 S. University Dr., Ste. 4 

Fargo, ND 58103 

701-281-8822 800-280-1711 

E-mail: info@neustel.com 

Web: www.neustel.com 


VOGEL LAW FIRM 

218 NP Ave. 

P.O. Box 1389 

Fargo, ND 58107-1389 

701-237-6983, 800-677-5024 

Web: www.vogellaw.com 



200 N. 3rd St., Ste. 201 

P.O. Box 2097 

Bismarck, ND 58502-2097 

701-258-7899, 877-629-0705 

Ohio 

BINGHAM, GREENEBAUM, DOLL, LLP 

2350 Chemed Center 

255 E. Fifth St. 


513-455-7600 

Web: www.greenebaum.com 

Speciality: Intellectual Property 

BRICKER & ECKLER 

100 S. 3rd St. 

Columbus, OH 43215 

614-227-2300 Fax 614-227-2390 

E-mail: abrown@bricker.com 

Web: www.bricker.com 

Contact: Alexander M. Brown 



1001 Lakeside Ave. E., Ste. 1350 

Cleveland, OH 44114 

216-523-5485 Fax 216-523-7071 

E-mail: wserra@bricker.com 

Contact: Wayne M. Serra 

HARTLAUB LAW OFFICES/MUSICIAN 

MANAGEMENT SERVICES 

Westerville, OH 

614-804-7579 Fax 614-898-0120 

E-mail: josephhartlaub@gmail.com 

Web: www.myspace.com/joehartlaub 

Contact: Joseph Hartlaub 


Oklahoma 

ABINGTON INTELLECTUAL PROPERTY 

LAW & CONSUMER CLASS ACTIONS 

320 S. Boston Ave., Ste. 1705 

Tulsa, OK 

918-588-3400 

E-mail: info@abingtonlaw.com 

Web: www.abingtonlaw.com 

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: carolbernick@dwt.com 


Contact: Carol J. Bernick 


DAY & KOCH, LLP 

1435 NW 19th Ave. 


503-224-4900 

E-mail: bart@dayandkoch.com 

Web: www.dayandkoch.com 

Contact: Bartley F. Day 

Specialty: Entertainment and Intellectual 

Property Law 


121 S.W. Morrison St., 11th Fl. 


503-228-3939 Fax 503-226-0259 

E-mail: sconnally@gsblaw.com 


Contact: Stephen J. Connally 


PERKINS COIE 

1120 N.W. Couch St., 10th Fl. 


503-727-2000 Fax 503-727-2222 

E-mail: RAldisert@perkinscoie.com 


Contact: Robert L. Aldisert 


Property 

PETER VAUGHAN SHAVER, ESQ. 

SOUND ADVICE, LLC 

Arts, Entertainmnet and Creative Business law 

3939 N.E. Hancock St., Ste. 308 


503-473-8252 

E-mail: pv@pdxsa.com 

Web: www.pdxsa.com 

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: Allenv@Ballardspahr.com 

Web: www.ballardspahr.com 

Contact: Valarie J. Allen 


BERNARD MAX RESNICK, ESQ. PC 

2 Bala Plaza, Ste. 300 

Bala Cynwyd, PA 19004 

610-660-7774 Fax 610-668-0574 

E-mail: bmresnick@aol.com 

Web: www.bernardresnick.com 

Contact: Bernard Resnick 

Specialty: Entertainment Law/Music Publishing 

CAESAR, RIVISE, BERNSTEIN, 

COHEN &POKOTILOW, LTD. 

1635 Market St., 11th Fl. 

Philadelphia, PA 19103-2212 

215-567-2010 Fax 215-751-1142 

E-mail: gatekeeper@crbcp.com 

Web: www.crbcp.com 

Specialty: Intellectual Property, Computer 

and Information Technology Law 

DOVAS LAW, PC 

307 Bainbridge St. 

Philadelphia, PA 19147 

267-940-7725 Fax 267-295-6078 

E-mail: info@dovaslaw.com 

Web: www.dovaslaw.com 


GLENN A. GOLDSTEIN, 


1650 Market St. 

Philadelphia, PA 19103 

215-981-5922 

Rhode Island 

ADLER POLLOCK & SHEEHAN PC 

One Citizens Plaza, 8th Fl. 

Providence, RI 02903-1345 

401-274-7200 Fax 401-751-06 

E-mail: pcampellone@apslaw.com 

Web: www.apslaw.com 

Contact: Paul A. Campellone 


South Carolina 

DORITY & MANNING, PA 

One Liberty Sq. 

55 Beattie Pl., Ste. 1600 

Greenville, SC 2960 

864-271-1592, 800-815-6705 

E-mail: jmb@dority-manning.com 

Web: www.dority-manning.com 

Contact: James M. Bagarazzi 


MCNAIR ATTORNEYS 

100 Calhoun St., Ste. 400 

Charleston, SC 29401 

843-723-7831 Fax 843-722-3227 

Web: www.mcnair.net 



132 East Benson St., Ste. 200 

Anderson, SC 29624 

864-226-1688 

The Plaza at Belfair 

4 Clarks Summit Dr., Ste. 200 

Bluffton, SC 29910 

843-815-2171 

MOORE & VAN ALLEN 

40 Calhoun St., Ste. 300 

Charleston, SC 29401-3535 

843-579-7000 Fax 843-579-7099 

Web: www.mvalaw.com 



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: jbrown@dehs.com 

Web: www.dehs.com 

Contact: Jonathan P. Brown 

WOODS, FULLER, SHULTZ & SMITH, P.C. 

300 S. Phillips Ave., Ste. 300 

Sioux Falls, SD 57104 

605-336-3890 

Web: www.woodsfuller.com 

Contact: James M. Wiederrich 

Tennessee 


424 Church St., Ste. 2700 


615-259-1450 Fax 615-259-1470 

E-mail: brad.lampley@arlaw.com 


Contact: Brad A. Lampley 


Music Law, Intellectual Property 


Brinkley Plaza 

80 Monroe Ave., Ste. 700 


901-525-3234 

E-mail: jeff.smith@arlaw.com 

Contact: Jeffrey. C. Smith 

CUMBERLAND LAW GROUP 

1221 16th Ave. S. Ste. 10 


615-383-8335 Fax 615-383-8134 

E-mail: info@cumberlandlawgroup.com 

Web: www.cumberlandlawgroup.com 

Contact: Kevin Norwood 


ESKRIDGE & ESKRIDGE 

100 N. Main Bldg., Ste. 1036 


901-522-9600 Fax 901-276-3800 

E-mail: info@eskridgelaw.com 

Web: www.eskridgelaw.com 

Contact: Janelle R. Eskridge 


Trademark, Copyright 

FARRAR & BATES 

211 7th Ave. N., Ste. 500 


615-254-3060 Fax 615-254-9835 

E-mail: help@farrar-bates.com 

Contact: Russ Farrar 

Web: www.farrar-bates.com 

Specialty: Entertainment Law, I.P./Copyright 

GORDON LAW GROUP 

803 18th Ave. S. 


615-786-0113, Fax 615-321-9099 

E-mail: info@gordonlawgroup.com 

Web: www.gordonlawgroup.com 

Contact: Robin J. Gordon 

Specialty: Contracts, Copyrights, Litigation 

KING & BALLOW 

315 Union St., Ste. 1100 


615-726-5422 

E-mail: rbusch@kingballow.com 

Web: www.kingballow.com 

Contact: Richard Busch 


Trademarks, Copyrights 


1906 Acklen Ave. 


615-749-8300 Fax 615-749-8308 

E-mail: Kkraus@loeb.com 

Contact: Kenneth L. Kraus 



LYON & PHILLIPS 

11 Music Cir. S., Ste. 202 

January 2013 


73




615-259-4664 

E-mail: bruce@lyonandphillips.com 

Web: www.lyonandphillips.com 

Contact: Bruce Phillips 


MILOM, HORSNELL, CROW, 

ROSE, KELLEY 

3310 W. End Ave., Ste. 610 


615-255-6161 Fax 615-254-4490 

Web: www.milomlaw.com 

Contact: David S. Crow 


RICHARD D. ROSE 

1209 16th Ave, S., 2nd Fl. 


Mailing address: 

9 Music Square S., #3700 


615-330-7673 

E-mail: info@copyrightcafe.com 

Web: www.copyrightcafe.com 

Contact: Richard D. Rose 

Specialty: Entertainment, Internet, 

Copyrights, Trademark, Clearance 

SALLY NORDLUND, LAW OFFICES OF 

P.O. Box 121828 


615-313-4166 Fax 615-313-4174 

Contact: Sally Nordlund 

Specialty: Contracts, Copyrights 

SHACKELFORD, ZUMWALT, HAYES 

1014 16th Ave. S. 


615-256-7200 615-256-7106 

E-mail: info@shacklaw.net 

Web: www.shacklaw.net 

Specialty: Entertainment Law, Contracts 

SHRUM & ASSOCIATES 

144 2nd Ave. N., Ste. 157 


615-338-5130 

E-mail: barry@musicattorney.biz 

Web: www.lawontherow.com 

Contact: Barry Neil Shrum 


Property, Trademarks, Copyrights 

Texas 

AL STAEHELY, JR., LAW OFFICES OF 

713-528-6946 

E-mail: al@music-lawyer.com 

Web: www.music-lawyer.com 

Contact: Al Staehely, Jr. 


AMY E. MITCHELL, ATTORNEY, 

MEDIATOR, COUNSELOR AT LAW 

401 Congress Ave., Ste. 1540 


512-970-3223 Fax 512-366-9915 

E-mail: law@amyemitchell.com 

Web: www.amyemitchell.com 

Contact: Amy E. Mitchell 


BANNEROT LAW FIRM 

2705 Bee Cave Rd., Ste. 230 


512-327-8930 Fax 857-0410 

E-mail: susie@bannerot.com 

Web: www.bannerot.com 

Contact: Susie Herring 


CRAIG BARKER 

48 East Ave. 


512-494-0777 Fax 512-236-5252 

E-mail: craig@craigbarkerlaw.com 

Web: www.craigbarkerlaw.com 

Contact: Craig Barker 


DAVID W. SHOWALTER, LAW OFFICES OF 

1117 FM 359 Ste. 200 

Richmond, TX 77406 

713-281-341-5577 Fax 281-341-5572 

E-mail: info@showalterlaw.com 

Web: www.showalterlaw.com 

Contact: David Showalter 

Specialty: Contracts, Entertainment Law 

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: www.deckerjones.com 


Property 

FRITZ, BYRNE, HEAD, & HARRISON 

98 San Jacinto Blvd., Ste. 2000 


512-476-2020 

E-mail: info@fbhh.com 

Web: www.fbhh.com 

Specialty: Litigation, Contracts, Copyright 

GRAVES, DOUGHERTY, HEARON, 

& MOODY, P.C. 

401 Congress, Ste. 2200 


512-480-5600 Fax 512-478-1976 

E-mail: gdhm@gdhm.com 

Web: www.gdhm.com 


Entertainment Law 

MICHAEL NORMAN SALEMAN, LAW 

OFFICES OF 

100 Congress Ave., 11th Fl. 

Austin, TX 

512-263-5932 Fax 512-263-5929 

E-mail: saleman@movielaw.net 

Web: www.movielaw.net 

Contact: Michael Saleman 



8235 Douglas Ave., Ste. 1111 

Dallas, TX 75225 

888-222-8959 

433 North Camden Dr., Ste. 600 


323-878-0226 

MIKE TOLLESON & ASSOCIATES 

2106 E. Martin Luther King Jr. Blvd. 


512-480-8822 Fax 512-479-6212 

E-mail: mike@miketolleson.com 

Web: www.miketolleson.com 

Contact: Mike Tolleson 


PERKINS COIE 

2001 Ross Ave., Ste. 4225 


214-965-7700, 214-965-7799 

E-mail: SteveSmith@perkinscoie.com 


Contact: Steven R. Smith 



ROBERT R. CARTER, JR. 

P.O. Box 1441 


512-304-5275 

E-mail: RobertRCarterJr@gmail.com 

Contact: Robert R. Carter, Jr. 


SIMMONS AND HOLMES LAW FIRM, PC 

1314 Texas Ave, Ste. 520 


713-659-8600 713-550-7700 

E-mail: anthonyts@hotmail.com 

Contact: Anthony Simmons, 

Attorney-Partner 

Specialty: Contracts, label shopping 

TABOR LAW FIRM 

1608 Hartford Rd., Ste. 100 


512-708-8584 

E-mail: cathy@taborlaw.com 

Contact: Catherine Tabor 


TEXAS ACCOUNTANTS & LAWYERS 

FOR THE ARTS 

1540 Sul Ross 


713-526-4876, 800-526-8252 

E-mail: info@talarts.org 

Web: www.talarts.org 

Contact: Erin Rodgers 

Specialty: Non-profit organization provides 

legal services for artists 

UNDERWOOD, PERKINS, PC 

5420 LBJ Fwy., Ste. 1900, Bldg. 2 


972-661-5114 Fax 972-661-5691 

E-mail: efogelman@suplaw.com 

Web: www.uprlaw.com 

Contact: Evan Fogelman 


& Intellectual Property 

Utah 


136 S. Main St., Ste. 1000 

Salt Lake City, UT 84101-1685 

801-933-7360 866-861-0311 

E-mail: saltlakecity@dorsey.com 


Contact: Annette Jarvis 



15 W. South Temple, Ste. 1200 

Salt Lake City, UT 84101-1531 

801-257-1900 Fax 801-257-1800 




THORPE NORTH & WESTERN 

8180 S. 700 E., Ste. 350 

Sandy, UT 84070 

801-566-6633 Fax 801-566-0750 

E-mail: patlaw@tnw.com 

Web: www.tnw.com 


WESTON, GARROU, MOONEY 

50 W. Broadway, 10th Fl. 

Salt Lake City, UT 84101 

801-364-5635 Fax 310-442-0899 

E-mail: info@wgdlaw.com 

Web: www.wgdlaw.com 

Contact: Jerome H. Mooney 





310-442-0072 

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: lmeier@drm.com 

Web: www.drm.com 

Contact: Larry Meier 


PRIMMER PIPER EGGLESTON 

& CRAMER, PC 

150 S. Champlain St. 

P.O. Box 1489 

Burlington, VT 05402-1489 

Contact: Douglas J. Wolinksky 

E-mail: dwolinksky@primmer.com 

802-864-0880 Fax 802-864-0328 

Web: www.ppeclaw.com 


and Technology 

Virginia 

FETTMAN, TOLCHIN & MAJORS PC 

10509 Judicial Dr., Ste. 300 

Fairfax, VA 22030 

703-385-9500 Fax 703-385-9893 

E-mail: bgoldstein@ftm-pc.com 

Web: http://www.ftm-pc.com/ 

Contact: Brian Taylor Goldstein 

Specialty: Performing Arts 

MERCHANT & GOULD 

1701 Duke St., Ste. 310 

Alexandria, VA 22314 

703-684-2500 

Web: www.merchantgould.com 


VENABLE, LLP 

8010 Towers Crescent Dr., Ste. 300 

Tysons Corner, VA 22182 

703-760-1600 Fax 703-821-8949 




One Church St., 5th Fl. 

Rockville, MD 20850 

301-217-5600 

Washington 


701 Fifth Ave., Ste. 6100 

Seattle, WA 98101-4010 

206-903-8814 866-789-2882 

E-mail: Jones.randal@dorsey.com 


Contact: Randal R. Jones 



1191 2nd Ave., 18th Fl. 


206-464-3939 888-768-5939 

E-mail: apreston@gsblaw.com 


Contact: Anne F. Preston 


NEIL SUSSMAN, LAW OFFICES OF 

10751 Densmore Ave. N. 


206-363-8070 Fax 206-363-7519 

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: MQuehm@perkinscoie.com 


Contact: Markam (Mark) A. Quiehrn 



West Virginia 

BOWLES RICE, ATTORNEYS AT LAW 

7000 Hampton Center 

Morgantown, WV 26505 

304-285-2500 Fax 304-285-2530 

Web: www.bowlesrice.com 



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: www.frostbrowntodd.com 


Property 

Wisconsin 

BOARDMAN & CLARK, LLP 

1 S. Pinckney St., 4th Fl. 

Madison, WI 53703 

608-257-9521 

E-mail: dhurd@boardmanlawfirm.com 

Web: www.boardmanlawfirm.com 

Contact: Donna Hurd, Exec. Director 

Specialty: Patents, Copyrights, 

Trademarks & Trade Secret Law 


619 Oak St. 

P.O. Box 443 

Baraboo, WI 53913-0443 

608-356-3977 


STAGEBERG, P.A. 

210 Grandview Prof. Bldg. 

400 S. Second St. 

Hudson, WI 54016 

715-386-8217, 800-752-4297 


PERKINS COIE 

1 E. Main St., Ste. 201 

Madison, WI 53703-5118 

608-663-7460 Fax 608-663-7499 

E-mail: jskilton@perkinscoie.com 


Contact: John S. Skilton 



Wyoming 

DRAY, DYEKMAN, REED, HEALEY, P.C. 

204 E. 22nd St. 

Cheyenne, WY 82001 

307-634-8891 307-634-8902 

E-mail: randy.reed@draylaw.com 

Web: www.draylaw.com 

Contact: Nicholas G. J. Healey 



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TIP JAR 

By David Barber 

ooner or later every musician who plays a lot of gigs will have 

Sthis problem. You play a show, but then when you go to settle up 

with the venue manager he gives you a whole lot less money than 

you were expecting. 

What can you do? Should you do anything? 

Here are some tips based on my years of experience paying bands. 

1. Open communications: Calmly tell the manager (or whoever) that this 

is not what you were expecting and request an explanation. The venue 

probably pays bands all the time, so this is nothing more than a simple 

business transaction for them. If you treat it the same way, then you 

can have a conversation about the payment and hopefully clear up any 

misunderstandings. 

2. Always have a contract: If you have any kind of agreement in writing 

and available to show the person who is paying you, a lot of time can be 

saved. A formal signed contract is not always needed, and many venue 

bookers won’t sign one anyway. However, an email that says, “Yes. We 

will pay you $300 for this gig,” or something to that effect from the venue’s 

booking person, will work. If you have a contract and the venue still refuses 

to pay, you may have grounds for a lawsuit. 

6. Don’t piss them off: If you yell, make a scene or threaten the person 

who is supposed to pay you, he is less likely to be cooperative. Likewise, 

if you are drunk or high, you may not be in the best position to discuss the 

facts with the venue or promoter representative. In this case, you might 

consider sending someone else in to collect, or come back to settle up 

tomorrow. (See #4) 

7. Talk to the right person: Chances are good that the venue or promoter/ 

booker is not the same person who will be paying you at the end of the 

night. You may be settling up with a bartender, door guy, sound guy or even 

a waitress. Many booking people work during the day and then leave notes 

for the bar manager (or whoever) about what to pay you. Sometimes there 

is a misunderstanding on their end. If you think it will help, don’t be afraid 

to call the booking guy (or ask the manager to do so) and have him talk to 

the person paying you. 

8. Be reasonable: If nobody showed up to see you play, the venue didn’t 

make any money off you. So asking them to pay a large guarantee can 

be like asking them to flush a case of Jäger down the toilet. If they offer 

you half, with the explanation that they are losing money, it may be worth 

accepting it and chalking it up to bad luck. The alternative is to demand 

your full guarantee—and expect that they will never book you again. 

If nobody showed up to see you play, the venue didn’t make any money 

off you. So asking them to pay a large guarantee can be like asking 

them to flush a case of Jäger down the toilet. 

3. Make sure you understand the agreement or contract: Sometimes 

there’s a miscommunication between whoever booked the gig (on the 

band’s behalf) and the person who collects the money. Make sure you 

understand the difference between “They’re going to pay you $300” and 

“They’re going to pay you $300 if 100 people show up.” If possible, have 

the person who agreed to the deal be the one who collects the payment for 

you. This is the most common kind of misunderstanding that happens. I’ve 

seen band “managers” download a contract from the Internet that was so 

convoluted even he couldn’t understand it when he tried to get paid. If you 

don’t understand any part of the contract, don’t sign it. Also, make sure you 

know ahead of time if the venue is likely to keep money to pay the sound 

guy(s), the light guy, the security guys, the opening acts or anyone else. 

4. Try to resolve the situation that night: Some venues have a policy 

where any band that doesn’t stick around to get paid at the end of the night, 

doesn’t get paid at all. Others will gladly let you pick it up the next day. 

Make sure you know what the policy is before you leave the premises. If 

you are on the road, coming back the next day might not be possible. Make 

sure you get as much money as possible before you leave. 

5. Evaluate the gig: Did an audience show up? Did they show up for you? 

How do you know? Are there exceptional circumstances? Did it snow six 

feet the day of the show? Was there a line of people down the street waiting 

to get in to see your band? Did you start and stop on time? Were you an 

opening act? A headliner? Did you play the whole night by yourself? Any of 

these things could factor into the amount you get paid. 

9. Go public: If you have tried everything—you talked to them the night of 

the show, you talked to them again the next day and you have an agreement 

of some sort that still hasn’t been honored—tell the world. Most 

music venues don’t want the kind of bad publicity that comes from bands 

bad-mouthing them. I’ve seen bands get paid within 24 hours of using this 

tactic. But be careful. If you are too aggressive, they might just sue you for 

slander. On the other hand, if you are dealing with a fly-by-night promoter 

who vanished before the show even ended, this is a good way to make 

sure none of your friends in other bands gets ripped off by the same guy. 

10. Take them to court: This is a last resort. It is a lot of work to take 

anyone to small claims court and there is no guarantee you will win. On 

the upside, the threat of a lawsuit in a letter from a lawyer might be enough 

to get you paid, but you will have to pay a lawyer to write it. If a judge finds 

in your favor, you may be entitled to triple the amount they owe you. On 

the downside, make sure you are okay with never playing for that venue/ 

promoter ever again. If the venue is being booked by a national or regional 

entity (think Live Nation, AEG or Hard Rock) you may never get to play any 

of their venues again. And if you’re going after a shyster who is out to rip off 

bands, then even if you win in court you may never collect what he owes 

you. (See MC's Music Attorneys Directory in this issue.) 

miniBIO: David A. Barber is the author of Gigging: Everything You Need To Know 

About Playing Gigs (Except how to play your axe). He is also co-producer of Band 

Talk every Wed. on Indie104.com, webmaster of rockoncolorado.com, Board 

Member of the non-profit Colorado Music Business Organization and a seasoned 

professional who has worked at several Denver, CO area music venues. 



10:00 PM 2:05 AM 2:47 AM 3:50 AM 

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