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DL806 

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• Onyx Mic Preamps 

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• Powerful Selection of Plug-ins 

DLM12S 

DLM8 

DIG INTO THE 

TECHNOLOGY 

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SYSTEM 

Some things are truly greater than the sum of their parts. Contemplate the perfect balance 

achieved when pairing Mackie DL mixers and DLM speakers. Never before have power, 

technology and portability delivered so much ultra-compact harmonious goodness. 

Wow, our self-improvement books have really paid off. Namaste. 

MACKIE.COM/SIMPLY ADVANCED 

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

contents 

 

Cover Stories 

!"#$%&'()&*(+*)$&,-"."+&/01&!%'!2$%3'%4 

36 

The Avett Brothers 

The Concord, NC-based indie folk-pop 

group called “the best Pop band in 

the Alt-Country corral” (Rolling Stone) 

continue to win over fans and critics 

with their latest release, The Carpenter, 

which was nominated for a 2013 

Grammy. For this exclusive Q&A, MC 

speaks with the band’s Scott Avett. 

By Dan Kimpel 

Career Connection 

46 

Via his Grow Music Project, 

Christopher Tyng is offering 

unsigned artists a chance to 

record in his state-of-the-art studio. 

By Andy Mesecher 

58 

Do-It-Yourself Management 

More and more artists and bands are taking the 

reins of their own careers. In this unique MC 

feature, we speak to three of those DIY acts, as 

well as a longtime manager, all of whom shed 

light and give insights on how to get it done. 

By Bernard Baur 

40 

Directory of Managers & Agents 

Booking Agents and Managers––Music Connection delivers 

their names, numbers, email addresses, current rosters, you 

name it. It’s the kind of information that any music-maker 

values when looking to advance his career. Nowhere else 

can you find such an extensive contact list, fully update 

and expanded for 2013. 

Compiled By Denise Coso 

Departments 

Close Up 

 

Assignments 

New Toys 

Book Store 

Up Close 

Studio Mix 

Business Affairs 

Signing Stories 

Song Biz 

Film/TV/Theater 

Mixed Notes 

Reviews 

CD Reviews 

New Music Critiques 

Live Reviews 

Producer Crosstalk: Steve Albini..........................................................By Rob Putnam 

Exec Profile: Peter Schwartz, The Agency Group................................By Andy Kaufmann 

Songwriter Profile: Remembering John Braheny......................................By Dan Kimpel 

Industry Profile: BMI Re-Brands Itself..................................................By Andy Mesecher 

Tip Jar: 5 Timely Tips for Indie Labels & Artists....................................By C. Michael Brae 

Be Sure To follow Music Connection 

on Facebook and Twitter. Check 

out our AMP Social Space for 

up-to-date music news. 

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

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

4 

March 2013 

www.musicconnection.com

!"#$%&$"%'( 

!"&$( 

)&"$( 

*+,'-( 

.,//( 

 

 

 

 

 

 

 

 

 

 

 

%01&!&"01( 

)&"'!2 

3%%#$(!"#$%&$"%' 

Hey, remember the ‘80s? A lot of 

bad clothes perhaps but some 

way-cool, aggressive distortions. 

Tight, muscular grind with buzz-saw 

harmonics never went out of fashion 

and the Boost Distortion delivers 

that fast punchy tone. It features its 

own unique SAG control that adds 

an expressive,tube-like response to 

every pick stroke. 

3%%#$(%01&!&"01 

Putting an overdrive pedal in front of a 

hard-pushed amp has been the secret 

weapon for generations of guitarists 

wanting to punch up the midrange and 

add sustain. The Boost Overdrive is 

packed with voluminous amounts of 

screamin’ tone. Just hit the Boost switch 

to go bigger and badder. The unique 

SPARKLE control adds upper harmonics 

for an open, snappy sound. 

3%%#$(.,// 

Vintage pedal hounds know that 

germanium fuzz sounds are way 

sweeter than silicon fuzz…but only 

when the temperature is just right and 

doesn’t spike. The Boost Fuzz solves 

that problem by nailing that creamy 

germanium tone, consistently all night 

long. This SAG control allows notes to 

bloom and sing at your command, for 

dynamic, organic performances. 

3%%#$(34##(.,// 

When you need a huge, 360-degree, 

room-filling bass tone, step up to the 

Bass Boost Fuzz. Get the fat, gritty 

sounds of the ‘60s fuzz bass and put 

some musical rage in your low-end. 

When you need more focus and 

edge, dial in the +CLEAN control to 

add just the right amount of direct 

tone to your mix. 

Designed and Manufactured in the U.S.A. 

www.tech21nyc.com

PUBLISHER 

E. Eric Bettelli 

® 

GENERAL MANAGER/ 

ADVERTISING DIRECTOR 

E. Eric Bettelli 

ericb@musicconnection.com 

ASSOCIATE PUBLISHER/ 

SENIOR EDITOR 

Mark Nardone 

markn@musicconnection.com 

 

 

 

 

Songfile makes it 

easy to do the 

right thing. 

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 

denisec@musicconnection.com 

EDITORIAL INTERN 

Karen Emmert 

intern@musicconnection.com 

ART DIRECTOR 

John Curry 

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 

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

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

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

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

Brooke Trout, Albert Vega, Catherine Veit, Jonathan Widran, Ellen Woloshin. 

PHOTOGRAPHERS 

Allegra Azzopardi, Bernard Baur, Daren Cornell, Jody Domingue, Scott Dudelson, Karen Emmert, 

Kevin Estrada, Corey Irwin, Oscar Jordan, David Klein, 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, Brooke Trout, Albert Vega, Ellen Woloshin. 

Manufactured and printed in the United States of America, 

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

Van Nuys, CA 91411. Single copy price is $3.95, Canada $4.95. Subscription rates: $35/one year, $59/ 

two years. Outside the US, add $25 (US currency) per year. We are not responsible for unsolicited material, 

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

written permission of the publishers is prohibited. The 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 March 2013 www.musicconnection.com

For songwriters and publishers it doesn’t just pay to sign with us, it pays monthly. As the most 

progressive PRO in the U.S., we’re proud to offer our songwriters monthly royalty payments. 

Why wait for the end of a quarter when you could be paid months sooner? So you can spend 

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FIND OUT MORE: SESAC.COM

CLOSE-UP 

!"!#!$!#"!!% 

&&&#'()*&*++,'-,.*/(01#23' 

By Jonathan Widran 

Well-known for their regional books on everything from travel and 

natural history to sports, gardening, astronomy and country living, 

Minneapolis-based Voyageur Press—founded in 1972—has 

amassed an eclectic and dynamic catalog of high-quality music related 

books since becoming an imprint of UK based Quayside Pubishing Group 

in 2007. While the stated goal on its Facebook profile is to “be America’s 

regional publisher,” the publisher’s offerings cater and are sold to music 

fans and musicians around the world. 

Two highly anticipated titles typify the diversity of the richly illustrated 

music related books—from histories of legendary rock bands to fascinating 

tomes about musical instruments and gear. Rush: The Illustrated History, 

penned by veteran music journalist Martin Popoff, is a 192-page hardback 

volume featuring 376 color and 90 black & white photos and retailing for 

$35. Dave Hunter’s 365 Guitars, Amps & Effects You Must Play: The Most 

Sublime, Bizarre and Outrageous Gear Ever is a 320-page paperback 

featuring 656 color and 31 black & white images. It retails for $21.99. 

Steve Roth, Voyageur’s Marketing Manager and a 20-year music industry 

veteran, says, “All of our books are lavish, high quality, extremely well 

researched works by big name rock journalists. The band and artist books 

are heavily illustrated histories which are like Hall of Fame exhibits as they 

feature rare personal photos, concert photos and memorabilia, including 

tickets and posters, all presented in a chronological format. 

“The musical instrument books are for folks who are passionate about 

the instruments they own and play. The recent Fender Telecaster: The Life 

and Times of the Electric Guitar That Changed The World tell the story of 

the instrument’s creation and its influence on rock music, and includes profiles 

of players who have been known to use them,” he adds. “The Fender 

book has illustrated features on Springsteen, Billy Gibbons, Keith Richards, 

Vince Gill, Syd Barrett and Clarence White, to name a few.” 

Scrolling the catalog pages on the website (http://voyageurpress.com/ 

categories/113/Music.html) leads to exciting discoveries dating back to 

2007. Also by Hunter is Amped: The Illustrated History of the World’s 

Greatest Amplifiers, a 2012 hardback (208 pages, 339 color and 57 black 

& white photos, $35). Neil Daniels wrote Iron Maiden: The Ultimate Unauthorized 

History of the Beast (224 pages, 421 color and 39 black & white 

photos, $40). Daniel Durchholz and Gary Graff wrote 2010’s Neil Young: 

Long May You Run: The Illustrated History (224 pages, 291 color and 118 

black & white photos, $30) as well as 2012’s Rock ‘N’ Roll Myths (240 

pages, 102 color and 55 black & white photos, $22). 

Another popular title is The Replacements: All Over But the Shouting: 

An Oral History) by Jim Walsh (304 pages, 81 black & white photos, 

$21.95). The rock legends list extends to Richard Bienstock’s Aerosmith: 

The Ultimate Illustrated History of the Boston Bad Boys (224 pages, 378 

color and 71 black & white photos, $35); Chris Welch’s Clapton: The 

Ultimate Illustrated History (256 pages, 347 color and 53 black & white 

photos, $40); Phil Sutcliffe’s Queen: The Ultimate Illustrated History of the 

Crown Kings of Rock (288 pages, 456 color and 77 black & white photos, 

$24.99) and Jon Bream’s Whole Lotta Led Zeppelin: The Illustrated History 

of the Heaviest Band of All Time, now available in paperback. 

While Voyageur Press focuses on rock & roll, their catalog includes such 

titles as 2012’s Miles Davis: The Complete Illustrated History, Rockabilly: 

The Twang Heard Round The World and The Art of Punk. 

Voyageur Press’ parent company Quayside Publishing Group represents 

a dynamic group of imprints dedicated to quality print and ebooks. 

Formed in 2004 upon Rockport Publishers’ acquisition of Creative Publishing 

international, the Quayside Publishing Group now encompasses Cool 

Springs Press, Fair Winds Press, Motorbooks, MVP Books, Quarry Books, 

Quayside Distribution Services, Quiver, Race Point Publishing, Rockport 

Publishers, Zenith Press and Walter Foster Publishing. 

Contact Voyageur Press, 612-344-8156 


ASSIGNMENTS 

Erika Earl 

Tech Manager/Sales Consultant 

Vintage King Audio 

Vintage King Audio, a leader in sales of 

high-end boutique and vintage recording 

equipment, has hired industry vet Erika 

Earl to serve as Tech Manager/Sales 

Consultant in its Los Angeles Flagship 

Store and Demo Studio, VKLA. Earl 

adds a wealth of technical experience 

to the VKLA team, with a specialty in 

analog systems, having performed repair, service and quality control for 

a wide range of top manufacturers, including Tube-Tech, Focusrite, Avid 

and many others. Earl also has experience in front of the console, working 

in studios throughout Arizona as well as The Distillery in Costa Mesa, CA. 

Most recently, she served as Head of Technology and Chief Technician 

for L.A.’s landmark studio The Village. Contact mrbonzai@mrbonzai.com. 

Andy Flint 

Sr. Mgr., Portable PA Marketing 

Harman Professional 

Harman Professional has appointed 

Andy Flint to the position of Senior 

Manager, Portable PA Marketing, Loudspeaker 

Group. In his new role, Flint 

will handle the Portable PA market for 

Harman’s Loudspeaker Group and its 

JBL Professional products, and will lead 

the development of new marketing and 

product strategies for this segment. Flint joins the Loudspeaker Group after 

eight years with Harman’s Amplifier division, where he was responsible for 

managing product strategy, pricing structures, brand image and large account 

relationships for the pro audio retail market and played an integral 

role in Crown Audio becoming the market leader in the portable PA power 

amplifier market segment. Contact travis.mcgee@definitionbam.com. 

Rex Reed 

Director of Engineering 

Harman Signal Processing 

Rex Reed has been promoted to Director 

of Engineering at Harman Signal 

Processing. In his new role, Reed will 

oversee engineering for the BSS Audio, 

dbx, Lexicon and DigiTech brands. 

Reed joined Harman Signal Processing 

in 1996 as a DSP engineer and since 

then has assumed roles with increasing 

responsibility within both engineering and product management. Most 

recently he served as Business Segment Director for Installed Sound and 

Portable PA, directing business and product development for the BSS and 

dbx brands. Reed holds a Bachelor and Masters Degree in electrical engineering 

from Utah State University. For further information, contact philip. 

weiss@definitionbam.com. 

B.J. Shaver 

Regional Sales Manager 

L-Acoustics 

L-Acoustics is expanding its sales force 

supporting the North American rental 

and installation sound market with the 

appointment of B.J. Shaver as Regional 

Sales Manager. Shaver will focus on 

supporting and developing L-Acoustics’ 

network of Certified Providers for the 

Southern United States, a region extending 

from Texas to the Carolinas, including Florida and Tennessee. Shaver 

joins L-Acoustics from Elite Multimedia, a professional audio/video company 

located in Tennessee, where he performed in various technical sales 

positions before being promoted to VP, Sales and Installation. Contact 

info@l-acoustics-us.com. 

Jay Morrissey 

Director of Sales, EMI 

Casio America, Inc. 

Casio America, Inc., a leading provider 

of electronic keyboards, has added 

Jay Morrissey to its Electronic Musical 

Instruments (EMI) division. Morrissey 

joins Casio as director of sales, responsible 

for all National Music Channel 

Retailers, including Sam Ash, Guitar 

Center, Musician’s Friend, and Music 

& Arts. Morrissey began his career in the electronic musical instruments 

industry in 1998 at Guitar Center’s first New Jersey location in Springfield. 

Expanding his skill-set and knowledge of the industry, he worked as a 

combo manager for Mars Music, national accounts manager for Taylor 

Guitar and VP of sales and marketing for Composite Acoustics in Louisiana. 

For more info, contact cazzolino@coynepr.com. 

Maria Drummond 

Secondary Promotions Manager 

Jerry Duncan Promotions 

Jerry Duncan Promotions has hired 

Belmont University graduate Maria 

Drummond as Secondary Promotions 

Manager. In her new role, Drummond 

will focus on building and maintaining 

relationships with country radio 

stations stateside and abroad. She 

recently relocated back to her home 

state of Tennessee from New York City. Drummond completed her 

Entertainment Industry Studies degree via Belmont East with internships 

at SiriusXM and The Press House, a boutique publicity firm. Her 

resume also includes time at AAM Mangement and Outpost Digital. For 

further information on this hire, you may contact Drummond directly at 

maria@duncanpromo.com. 

Bruce MacPherson 

US Sales Director 

DPA Microphones 

DPA Microphones has announced the 

addition of Bruce MacPherson as US 

Sales Director. MacPherson is a sales 

professional, audio product specialist 

and audio engineering veteran with 

experience in current technology and 

techniques for audio recording and live 

sound, as well as commercial and post 

production. In his new role, he will be responsible for overseeing all 

DPA sales and customer service activities. Prior to DPA Microphones, 

MacPherson held sales positions with Universal Audio, Sam Ash and 

Musication. He was also a product specialist for Digidesign (Avid), an 

engineer and sound designer at Looking Glass Studios and musical 

director for the Dana Carvey Show. Contact ema@dpamicrophones.com. 

Karl Detken 

VP, Interactive Media 

V-MODA 

Karl Detken has been added to the 

V-MODA team. Detken will hold the 

official title of Vice President of Interactive 

Media for the multiplatinum 

selling designer of headphones. For 

18 years Detken directed Pioneer’s 

marketing, product development and 

artist relations. He was instrumental in 

the success of the CDJ/DJM/DVJ/EFX series and HDJ headphones. After 

Pioneer, he focused his time as a marketing, social media and audio tech 

guru. He personally built an audience of almost 3/4 of a million followers 

on Twitter and Facebook. For more information on this new hire, visit 

http://v-moda.com. 

March 2013 www.musicconnection.com 9

NEW TOYS 

—BARRY RUDOLPH barry@barryrudolph.com 

TASCAM TH-02 HEADPHONES 

THE TH-02 HEADPHONES have a closed-back design and sell for under $30 and, as 

they say, “you have hear them to believe it.” I tried them out using my Aphex Systems 

Model 454 HeadPod studio headphone box. Since the HeadPod has four separate, 

identical amplifiers—one amp for each pair of headphones, I’m able to quickly 

compare four different sets of phones playing music from my Pro Tools 10 rig 

simultaneously. 

I’m surprised how well the TH-02 holds up as compared to headphones I own 

costing up to three or four times as much. I get a good “look” at the mid-range 

frequency content in my mixes without the exaggerated bass boost that many 

other new headphones have. 

One set (that cost at least three times as much) didn’t feel as comfortable on 

my noggin’ as the Tascam TH-02 headphones. I like the plush cushioned ear cuffs 

and padded headband. Both left and right ear-cuffs rotate 90-degrees for one-ear 

monitoring and make folding them up easy. 

The Tascam TH-02 headphones come in 

your choice of black with silver logos or all white 

with red logos, cord and accents. Other features 

include: tightly-stitch headband, 3-meter cord with 

1/8-inch mini plug and 1/4-inch adapter, and can handle 

power up to 600-mW. Check out http://tascam.com/ 

product/th-02. See MC’s exclusive NAMM coverage of 

the Tascam TH-02s at http://youtu.be/lQ0ncstq0sw. 

MACKIE DL806 8-CHANNEL DIGITAL 

LIVE SOUND MIXER 

THE 8-CHANNEL MACKIE DL806 is a slightly scaled 

down version of the DL1608 16-channel digital live 

mixer. Both feature control and mixing using the My 

Fader app for either iPhone/iPod Touch or the Master 

Fader app for iPad. 

An iPad will slide into the DL806 and, like the other 

iOS devices also connects/controls wirelessly via WIFI. 

The wireless setup is easy to do using your existing 

WIFI router and you can mix from anywhere in the room 

using up to 10 iPad, iPad Mini, iPhone or iPod touch 

devices at the same time. 

Like the DL1608, the DL806 is useful for individual 

stage monitor mixes or, as I envision using it, individual 

headphone mixes for musicians in the studio. 

The DL806 has eight Onyx mic preamps (instead of 

the DL1608’s 16) otherwise the same technology under 

the hood: 24-bit Cirrus Logic® AD/DA converters, fourband 

EQ, dynamics, effects plug-ins and the 31-band 

GEQ graphic on the stereo main bus. 

On the DL806, there are four aux sends (instead 

of six on the DL1608) for monitor mixes, master L/R 

output, gate and compression plug-ins on all inputs, 

comp/limiter on outputs, global reverb and delay, preset 

and snapshot recall, and direct stereo recording to your 

iPad when docked in the DL806. 

The DL806 will be available by the end of April, 2013. 

For more, visit http://mackie.com/products/dlseries. 

AURALEX PROMAX ACOUSTIC PANELS 

AURALEX’S PROMAX stand-mounted panels 

are instant problem-solvers for reducing unwanted 

sound reflection and excessive reverberation. Being 

a standalone absorption panel with a built-in floor 

stand, ProMAX panels are useful where boundarymounted 

(walls and ceilings) acoustical treatments 

are not possible or even feasible. 

ProMAX panels are useful in rented spaces or for 

location recording in acoustically-terrible rooms by 

film/television or ENG (electronic news gathering 

crews). 

This updated version has both an absorptive side 

and a reflective side, providing the option of also 

enlivening a section of a room for recording acoustic 

instruments. You may find the absorptive side of 

several ProMAX panels useful for “reigning in” an 

overly live room when a recording speakers in a 

business meeting set in a temporary space. 

The 2-ft. x 4-ft. Studiofoam® panels are three inches 

thick and feature a cloth-wrapped, moderately 

reflective rear surface. With several ProMAX panels 

surrounding a group of musicians (say a string 

quartet) or a small discussion group in a space, just 

the right room ambience is obtained by varying the 

quantity, orientation and spacing of them. 

ProMAX panels are made from a proprietary 

melamine-free formula that won’t crumble like other 

materials and comes in charcoal gray. For more 

information, check out http://auralex.com. 

AUDIO-TECHNICA AT2020USB+ CONDENSER MICROPHONE 

AUDIO-TECHNICA’S AT2020USB+ is the third variant of the original AT2020 

cardioid-only pattern, side-address condenser microphone. The AT2020USB 

is the USB 2.0 version of the same studio microphone and now the new 

AT2020USB+ adds zero-latency monitoring, a stereo 

headphone mini-jack and mix control. 

The AT2020USB+ features a built-in high-output 

internal headphone amplifier for plenty of volume 

and the mix control blends the microphone’s direct 

signal with pre-recorded audio coming from your DAW 

computer, DJ rig or karaoke system. Like the original 

AT2020, the cardioid pickup pattern delivers an upfront 

presence for vocals, acoustic guitars or for voiceovers 

and Webcasting. 

The onboard A/D converter produces 16-bit audio 

at either 44.1/48 kHz sampling rates and ensures 

compatibility with Windows 7, Vista, XP, 2000 and Mac 

OS X. 

The USB powered AT2020USB+ includes a tripod 

desk stand, stand mount, USB cable and soft protective 

carrying pouch and sells for $279 MSRP. 

For more information, please visit http://audiotechnica.com. 


Saffire PRO 14 

+ Two Focusrite mic preamps capture your sound with pristine clarity 

+ High-quality 24-bit/96kHz digital conversion, with JetPLL jitter elimination 

+ Saffire MixControl ultra-low-latency DSP mixer/router 


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

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

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

Saffire PRO 24 DSP 

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

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

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

LIQUID Saffire 56 

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

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

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


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

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

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

For further information: (310) 322-5500 

www.focusrite.com/Saffire 


NEW TOYS 

—BARRY RUDOLPH barry@barryrudolph.com 

YAMAHA LIVE CUSTOM DRUM SET 

THESE ARE YAMAHA’S first Live Custom kits and they feature 100 

percent oak shells and are the first set to come out of a new state-ofthe-art 

Yamaha owned and operated factory. Built in conjunction with 

artists and consumers, the Live Custom shell is slightly thicker than the 

current Oak Custom kit and gives the drums more depth, projection 

and clarity. And the black nickel-plated hardware and gorgeous lacquer 

finishes are strikingly beautiful—an immediate “looker” on stage. 

Pictured is a big kit in their Black Shadow Sunburst finish. The 

snare drum includes a redesigned throw-off and butt plate with 

stronger, smoother action 

while the floor tom 

leg bracket features a 

stronger vertical bolt. 

Live Custom 

drum sets sell 

from $1,399.99 to 

$1,799.99. For more 

information, visit 

http://4wrd.it/yamaha 

drums. 

ARGOSY CONSOLE SPIRE I-STANDS 

ARGOSY’S SPIRE I-STANDS have integrated IsoAcoustics’ patented system that de-couples vibrating 

speaker cabinets from these freestanding monitor stands. Two models are offered in the line, the 

42-inches tall Spire 420i at $399 per pair; and the 36-inch tall Spire 360i at $379 per pair. Both are attractive 

and stable studio monitor stands made from thick, powder-coated Medite—an environmentally 

friendly substitute for plywood and/or particleboard. 

The top measures 7 3/4 x 9 7/8-inches and the base measures 16 x 16 square inches. The twin 

upright columns have die-cut holes and all edges are beveled like fine furniture. Each are capable of 

supporting monitors weighing up to 75-lbs. 

IsoAcoustics’ isolators are designed to keep all movement on-axis —in the direction of the speaker 

cone’s travel—while resisting movement in all other planes. Mechanically isolated monitors improve 

definition in the bass frequencies and immediately improve the stereo imaging of your existing speakers. 

I like Argosy Spire I-Stands’ modern and stylish look, their stability and the fact that I don’t have to 

buy extra speaker isolators—they’re built in. 

For further info, check http://argosyconsole.com/html_internal/argosyspeakerstands_istands.html. 

KORG MS-20 MINI SYNTH 

KORG’S MS-20 MONOPHONIC SYNTHESIZER, first introduced 

in 1978, is reborn as the MS-20 Mini. Shrunk to 86 percent of the 

original’s size, it retains the two oscillators with ring modulation, 

envelope generators with delay/hold, and patch cord programming. 

The VCA (Voltage Controlled Amplifier) maintains the original’s 

basic design but produces less noise. The original filters’ characteristics, 

with both high-pass and low-pass and peak/resonance, are 

also included. 

The patching system uses 1/8-inch jacks and the clear, front 

panel signal chain flow chart is a great and fast way to learn synthesizing 

musical sounds. 

Patching enables the creation of complex sounds by allowing the 

rerouting of both modulation and audio (from both the internal oscillators 

and external audio sources). 

The ESP (External Signal Processor) functionality allows the 

utilization of either the pitch or volume of an external audio source 

to control the synthesizer—yes! There is a MIDI-In jack for receiving 

note messages, and the USB-MIDI connector will transmit and 

receive note messages to your computer. With the original MS-20 

owner’s manual and settings chart, the Korg MS-20 Mini will be 

available at MAP price of $599. See http://korg.com. 

ON-STAGE U-MOUNT SYSTEM FOR IPADS 

ON-STAGE’S U-MOUNT SYSTEM is part of the 

OSIM series of products including the TCM9150 

Tablet Mounting System, TS9901 Heavy-Duty Tablet 

Stand and the TS9900 Compact Tablet Stand. 

Each sold separately, the modularity of this system 

design means you only buy what you need. 

On-Stage has it figured out; your 

iPad1 or iPad2 does not have to 

be pulled out of the protective 

cover that most iPad owners 

buy. I know I’m less likely to 

bother “unwrapping” my iPad2 

every time I want to use it for a 

music app. 

The TCM9150 functions as 

a dedicated cover with slots 

cut for the camera, speaker, 

30-pin I/O connector just as 

any cover you might pay over 

$100. This 

unique protective 

case has a threaded 8-mm insert on the back that 

mates with an anodized aluminum arm system. 

Fully adjustable, you can rotate, tilt and make horizontal, 

and vertical adjustments to get the iPad just right. Its elliptical 

clamp mounts to any On-Stage Stands mic stand or 

similar structure; it even mounts to flat edges like tabletops 

and rack cases. 

Visit http://onstagestands.com/products/view/117470 for 

more information and configurations. 

BARRY RUDOLPH is a recording engineer/mixer with 

over 30 gold and platinum RIAA awards to his credit. 

He has recorded and/or mixed: Lynyrd Skynyrd, Hall & 

Oates, Pat Benatar, Rod Stewart, the Corrs and Robbie 

Nevil. Barry has his own futuristic music mixing facility 

and also teaches recording engineering at Musician’s 

Institute, Hollywood, CA. http://www.barryrudolph.com 


Punch it up! 

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Meet the P1800SX subwoofer 

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Use it with the Cerwin-Vega! P1500X (see below) or your 

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Meet the P1500X, a two-way, bi-amped, full-range bass-reflex 

speaker with the most power in its class. 

1500 watts of built-in Class D amplification 

Lightweight, portable polymer cabinet 

Proprietary hemi-conical horn for even venue coverage 

Frequency shaping controls, high-pass filter 

Vega Bass boost 

Built-in mixer with multiple I/O connections for easy set-up 

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permanent and portable use 

Use it alone, in pairs, as a floor monitor or with the P1800XS 

For more information go to www.cerwinvega.com. 

www.cerwinvega.com ©2012 Cerwin-Vega! All rights reserved. 


BOOK STORE 

For the Coffee Table... 

NEIL YOUNG 

Long May You Run: The Illustrated History, 

Updated Edition 

This is the fi rst illustrated history to span Neil’s 

41 studio albums, 6 live releases, and 40-plus 

years as a recording and touring musician. 

CLAPTON 

The Ultimate Illustrated History 

Slowhand’s entire career is captured in words 

and rare and brilliant photos, by noted UK music 

scribe Chris Welch. 

Available at your favorite 

bookstore and online retailers. 

For wholesale inquiries contact 

your Hal Leonard representative. 

www.voyageurpress.com 

STICKS ‘N’ SKINS: A PHOTOGRAPHY BOOK 

ABOUT THE WORLD OF DRUMMING 

By Jules Follett (hardcover) $75.00 

Photographers including the late Lissa Whales and author 

Jules Follett traveled to over 53 cities and photographed over 

500 drummers to be included in the pages of this captivating, 

heavyweight hardback. The first of its kind, Sticks ‘n’ Skins 

features photos and stories of legendary artists, profiling the 

eclectic world of drumming over the past 70 years. The book 

not only provides visual inspiration photos but also preserves the legacy of the diverse and 

unique drumming community. Among the many, many drummers represented are: Cindy 

Blackman (Lenny Kravitz), Buddy Rich, Earl Palmer, Mike Portnoy, Herman Ernest III (Dr. 

John), Johnathan Moffett (Michael Jackson), Charles Connor (Little Richard), Lenny White 

(Miles Davis), Gina Schock (the Go-Gos) and so much more. 

Everything I Know About The Music 

Business I Learned From My Cousin Rick 

By Dave Rose (paperback) $11.95 

Author Dave Rose’s lifelong experience in all 

facets of the music business offers unique 

insight into the obstacles, 

complexities 

and triumphs that are 

crucial to a musician’s 

ability to thrive. Rose 

teaches practical and 

relevant tactics on 

how to properly gauge 

and monitor success, 

and wisdom on how 

to avoid and quickly 

correct common mistakes. 

http://mycousinrick.com 

Best Jobs in the Music Industry: 

Straight Talk from Successful Music Pros 

By Michael Redman (paperback) $24.99 

Best Jobs in the Music Industry is a career 

guide for those who love music and are exploring 

different areas of the industry beyond the 

obvious performer route. Author Redman boils 

down the job requirements, skill sets, potential 

revenue, longevity, 

benefits and challenges 

of a variety of 

music careers both 

direct and indirect, 

spanning performer 

to label executive to 

recording engineer 

and music producer. 

Logic Pro for Recording Engineers 

and Producers 

By Dot Bustelo (paperback) $16.99 

This Quick Pro Guide is specifically designed 

to help engineers and producers who are 

already proficient in another DAW software 

platform, make the transition to Logic Pro. Text, 

illustrations and examples are geared toward 

demonstrating the creative, practical and technical 

benefits provided 

by Apple. The guide 

includes a Quickstart 

chapter for instant 

gratification, allowing 

the novice to become 

familiar with the software 

in a minimum 

amount of time, along 

with an accompanying 

DVD-ROM containing 

video and audio 

examples to support 

the text. 

Songs That Saved Your Life: 

The Art of the Smiths 1982-87 

By Simon Goddard (paperback) $14.95 

One of the seminal groups of the ‘80s, the 

Smiths’ career was 

as brilliant as it was 

brief. Now, drawing on 

interviews with band 

members, producers 

and colleagues, music 

journalist Simon Goddard 

presents a meticulous 

chronological 

survey of the group’s 

evolution, from first 

demos in 1982 to final 

fractured studio session 

five years later. 



UP-CLOSE 

By Jonathan Widran 

unique, brand-new remote digital mastering service offered by 

the legendary Capitol Studios in Hollywood, CA Capitol Beacon 

A is designed and operated to allow artists, composers, musicians 

and producers access to the historical brand’s experience, facilities and 

mentorship. 

Beacon’s core mission is to aid in the continuing development of 

the art and science of recording and to invite a wider audience into the 

historic Capitol Studios. Using the Capitol Beacon mastering service, 

clients are able to enter the virtual doors to Capitol Studios and benefit 

from its legendary heritage, experience, facilities and engineers. 

Capitol Beacon’s official mission statement is grounded in a desire to 

help artists achieve more than simply sonic excellence. Included on their 

website (http://capitolbeacon.com) is the following: “The wisdom and 

knowledge that have been honed throughout our recording history and 

the equipment we house here can all help steward that deep emotional 

connection between your fans and your music.” 

The Capitol Mastering team brings to each project years of expertise 

working with hundreds of top artists. The list includes Norah Jones, the 

Decemberists, Demi Lovato, Snoop Dogg, LeAnn Rimes, D’Angelo, 

T-Bone Burnett, Selena Gomez, Miley Cyrus and REM who have all 

benefited from the legendary equipment still used every day, including 

our world renowned Echo Chambers, Fairchild 670’s and the custombuilt 

Capitol 5511 Compressor which is unique to their facility. 

The process is simple: when Capitol receives a track, they assign a 

mastering engineer based on his/her experience with the genre. The 

client is given a one-time “iteration,” or opportunity to communicate 

directly with the assigned engineer during the mastering process—to 

make any specific sonic corrections, adjustments, etc. Interaction with 

the facility’s experienced personnel is part of the Capitol Beacon service, 

designed to keep the client informed and involved. 

The fee, as posted on the website, is a very affordable $100 per track. 

Capitol Beacon is making its initial social media push on Facebook 

(http://facebook.com/capitolbeacon) and Twitter (https://twitter.com/ 

capitolbeacon). 

“Capitol Beacon provides the same engineers and equipment that is 

offered to those artists and producers working in our four main mastering 

rooms,” studio head Drew Waters says, “with the biggest difference 

being that, to maintain maximum efficiency and a low cost, the session 

is unattended and the client is given a single opportunity to interact 

with his/her engineer. Anyone in the U.S. can use our FTP, and our 

turnaround time is only ten business days. For us, it’s an opportunity 

to provide our services to underrepresented markets of independent 

artists and producers who want the kind of experience and sound quality 

Capitol offers but who live far from L.A. and are working on a budget 

that doesn’t allow for lengthy attended mastering sessions.” 

Capitol Beacon provides fast, effective communication about how the 

project is progressing, with an email sent to the client after every step 

of the process—successful upload, when the sessions are scheduled, 

when the work is completed, etc. There are auto notifications, but clients 

can also speak with real people to make sure things are on track. 

“We understand the importance of sonic details, so at the time of 

original submission we offer the opportunity to add preferences,” Studio 

Project Manager Ursula Kneller says, “The communication between 

client and engineer after the initial work is done is to ensure that all 

client specifications have been followed correctly. Our goal is to always 

honor the artist’s vision. While we have the privilege of providing these 

services, artists across the country now legitimately have the Capitol 

Mastering stamp on their recordings.” 

Waters adds, “The measure of our success will be when an artist who 

lives a thousand miles away listens to the finished master and hears a 

sound that fully realizes her vision for the labor of love that is her music.” 

Contact Capitol Beacon, 323-871-5003, onlinemastering@ 

capitolbeacon.com 



STUDIO MIX 

NAMM 2013 

With floor expansions, an outdoor stage addition and thousands of 

new products on display, the 2013 National Association of Music 

Merchants (NAMM) trade show was nothing short of a success. 

Below are a few of the a-list music industry folk seen on the NAMM 

floor. See our video coverage that includes Sennheiser, Tascam, Blue 

Mics, Westone, Cakewalk, Universal Audio, Darkest Hour, Scale the 

Summit and more at http://youtube.com/musicconnectionmag. 

Producer Playback 

“[When producing], 

there are no rules. It’s 

easy to say that you start 

a song with a drum set 

and have this procedural 

construct. That doesn’t 

have to be.” 

— Matt Serletic 

producer, former 

Virgin Records CEO. 

Interviewed in MC 

January 2013 

Pictured (l-r): Andrea Germano, ThundHerStruck bassist; Phil Soussan, 

Ozzy Osbourne and Billy Idol bassist; Gary Ladinsky, owner, 

Design FX; producer-engineer Flash Ferrucci; and Shari Hoffman, 

Audiovisual & Symphonic Recordings Manager for AFM & SAG- 

AFTRA Intellectual Property Rights Distribution Fund. 

LEGION UNLEASH STUDIO 

UPDATE: Columbus metal group 

Legion have issued a studio update 

surrounding their yet-to-be-titled 

new release (http://youtu.be/ 

kxWuHbij9b8). The band have 

been working with producer Daniel 

Laskiewicz of the Acacia Strain and 

have vowed to release their most 

ferocious material to date. Legion 

is Michael Guilford, vocals; Chris 

Dragics, guitar; Alex Heiberger, 

guitar; Mason Prince, bass; Jake 

Rodriguez, drums. 

BLACK SABBATH ISSUE STU- 

DIO UPDATE: Rock legends Black 

Sabbath are working on their new 

album, 13, which will be released 

this June. The original Black Sabbath—Ozzy 

Osbourne, vocals; 

Tony Iommi, guitar; and Geezer 

Butler, bass—recorded the album 

primarily in Los Angeles and were 

joined at the sessions by drummer 

Brad Wilk (Rage Against The 

Machine). Produced by seven-time 

Grammy winner, Rick Rubin, 13 will 

be released on Vertigo (worldwide) 

and Vertigo/Republic in the US. 

See a studio update here: http:// 

youtu.be/3GLqS7yjyMw. 

Addendum: Listed below is a 

correction to our Producer/Engineer 

guide from Feb. 2013: 

THE OC RECORDING 

COMPANY 

3100 W. Warner Ave., Ste. 7 

Santa Ana, CA 92704 

E-mail: info@ocrecording.com 

Web: www.ocrecording.com 

Contact: Asaf Fulks 

Rates: Please contact us 

Credits: Universal Pictures, Disney, 

ESPN, LA Clippers, Canon, 

Casio, Platinum & Grammy Artists 

Gear: Pro Tools, Neve, SSL, 

API, Sony C800G, Aurora Audio, 

Avalon, Lynx, Dangerous, Focal, 

Adam, Tube Tech, Waves L2, 

Massey, Fab Filter. 

Pictured (l-r): Mark Gander JBL Professional Marketing; Keith 

Shocklee, producer of Public Enemy; and Bryan Bradley, Head of 

JBL Professional. 

BRIAN STEWART 

Everly & Sons seen at the Cleartone string booth (l-r): Phil Everly, 

Chris Everly, Jason Everly (the president of Cleartone), and Music 

Connection publisher Eric Bettelli. 

QUINCY JONES RECEIVES LIFETIME ACHIEVEMENT AWARD 

Jimmy Jam presents legendary producer Quincy Jones (left) with the 

Grammy Lifetime Achievement Award at the Exclusive Grammy P&E Wing 

party at The Village Recorder. 


STUDIO MIX 

—ANDY MESECHER andym@musicconnection.com 

MC, OZOMATLI, MEIKO TEAM UP FOR 

WHOLE PLANET FOUNDATION 

Music Connection was a media sponsor of the Whole Planet Foundation’s 

Pre-Grammy party at legendary EastWest Studios in Hollywood, CA. Meiko 

(pictured), Ozomatli and others performed in support of the Foundation’s 

global micro-lending programs. Sambazon was the lead sponsor at the 

event produced by Planet LA Music and Clamorhouse. 

MUSIC PRODUCERS GUILD BEGINS STUDIO 

WORKSHOPS IN HOLLAND 

The Music Producers Guild, in conjunction with Joram Pinxteren at Legacy 

Studios in Holland, has initiated a series of seminar/workshops that will run 

periodically throughout 2013. At the first workshop, Pinxteren conducted a 

face-to-face interview with Tony Platt (pictured), in which Platt discussed his 

philosophy of production, engineering and music, and demonstrated multiple 

ways to track drums. Platt also had some Pro Tools examples of sessions that 

he used to explain particular techniques and illustrate his answers to questions. 

THE STRUMBELLAS TRACK AT SEATTLE’S BEAR CREEK 

The Strumbellas spent time tracking with producer-engineer Ryan Hadlock 

at his Bear Creek Studios late last year. Located in Seattle, WA, Hadlock’s 

family-built studio has hosted Brandi Carlile, Soundgarden, Foo Fighters, 

Modest Mouse, Eric Clapton, Lionel Richie and was the place where the Lumineers 

tracked “Ho, Hey.” Pictured (l-r): Simon Ward, Jeremy Drury, Isabel 

Ritchie, Ryan Hadlock, Jon Hembrey, Jerry Streeter, Darryl James and Dave 

Ritter. Get more Bear Creek news at http://bearcreekstudio.com. 

POP EVIL TEAM WITH JOHNNY K FOR UPCOMING RELEASE 

Michigan rockers Pop Evil are currently at Groove Master Studio in Chicago, 

IL, tracking their upcoming album. The yet-to-be titled work is being produced 

by Johnny K (Disturbed, Staind, Plain White T’s). Pictured is Pop Evil 

vocalist Leigh Kakaty. For studio updates, visit http://facebook.com/popevil. 


PRODUCER CROSSTALK 

Steve Albini 

Recording analog in the digital age 

By Rob Putnam 

Steve Albini, famed Chicago-based recording engineer, industry 

critic and member of rock outfit Shellac, has worked across 

genres with more than 1,000 artists, notably Nirvana, PJ 

Harvey and the Pixies. He launched his studio Electrical Audio in 

1997. It’s a formidable space that’s managed to keep its doors open 

when comparable studios have not by holding overheads low and 

otherwise running efficiently. Perhaps most telling of his engineering 

philosophy is that he continues to record solely in analog. 

It’s typical for Albini to begin work with a band with little or no introduction, 

due to the way that he books his studio. “I do a lot of sessions 

where the band is basically coming in cold,” he explains. “I’ve never met 

them or heard their music, but through reputation or reference they’ve 

decided that they want to work with me. My schedule doesn’t permit 

pre-production and I tend to book session after session. There’s no time 

in between for me to do anything other than work on the next record. 

That’s a function of the economics of the studio business at the moment. 

It’s not possible to earn a living 

unless you’re working constantly.” 

Albini asserts that it isn’t his job to 

impress his own mark upon a record. 

Many engineers, particularly mastering, 

have made similar observations. “I’ve 

been in bands myself so I have a lot 

of respect for the way they operate,” 

he says. “Most of what I do is facilitate 

decisions that the band has already 

made; they’ve already decided how 

they want their record to sound. If 

something’s weird or unpleasant, 

I’ll mention it. But I’m open-minded 

enough to know that I’m not always 

going to understand it. The last thing 

a band needs is someone telling them 

they’re wrong about their own music. 

I try my hardest to never say no.” 

Albini is an advocate of trying 

new things on virtually every project 

on which he works. He learned this 

approach from an interview with 

record-ing engineer and Shellac 

bassist Bob Weston. As he explains: 

“On every session he did, he made 

The three most important 

things he’s learned as 

an engineer are: 

You can’t fake knowing what 

you’re doing. It’s better to say 

“I don’t know what’s going on.” 

In the back of the mind of 

every engineer I’ve met, they 

feel like they don’t really know 

what they’re doing. Everybody 

has this nagging doubt that 

they’re a fraud. You have to get 

comfortable with that feeling; 

that you’re not really in control. 

You can’t push the sound 

around. The more tweaking 

you do, the more freakish the 

music becomes. I learned the 

hard way that records end up 

sounding the best when you 

don’t have to do a lot to them. 

a point of doing one thing that he was curious about, whether that was 

using a mic he’d never used before or putting it in a position he’d never 

tried. Gradually you build a vocabulary and if you’re ever required to do 

something, you can reach back into your memory. I totally stole that idea.” 

Despite the technical advances of recent years, Albini still opts to work 

exclusively with tape. “I’ve never made a record digitally,” he explains. 

“I only use tape machines. It’s how I learned to make records. The 

fundamental problem with digital recording is that there’s no permanent 

master. Tapes are essentially permanent. Our dongle went missing for 

about eight hours one day during a digital session for somebody else 

and they could literally do nothing. Those are frailties of digital systems.” 

As a man that’s run his own studio for nearly 15 years, he’s 

experimented with a range of gear. His favorite piece is the STC 4038 

ribbon microphone made by Coles Electroacoustics. “It’s a very highquality, 

versatile mic,” he asserts. “I use it on a number of things, 

especially the richer instruments like cello, viola and double bass. They’re 

not terribly bright, not crisp. But they have a very nice definition.” 

Artists that he’d like to work with include Crazy Horse, Willie 

Nelson and AC/DC. “Like Crazy Horse, they do the same thing 

over and over again and it’s always awesome,” he observes. 

Recently Albini completed a 7-inch record for Screaming 

Females. He’ll also record a live album for the band. 

Contact Steve Albini / Electrical Audio, http://electricalaudio.com 


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EXEC PROFILE 

—ANDY KAUFMANN 

BACKGROUND: After graduating 

from Syracuse University, 

Peter Schwartz’s love of music 

led him to a job working for a 

video production company. On 

the advice of his friend’s father, a 

concert promoter, he interned at 

the William Morris Agency then 

later served under Cara Lewis. 

The Agency Group employed 

him two years later. There, he’s 

helped raise the profiles of some 

of rap’s biggest stars. 

“There’s no better publicity, excitement and growth 

for an artist than when you have sold out shows.” 

Urban Cowboy: 

I’ve worked in a variety of genres 

over the years, urban music being 

my main focus. At one point, I had a 

lot of reggae clients when the genre 

was seeing its bigger days. I’ve 

always been involved in hip-hop. 

Lately, my roster’s been mainly urban 

and that’s the genre that’s flourished 

most for me. It’s also always 

been my staple genre. There aren’t 

that many people booking urban 

music, so it’s definitely a specialized 

area I’ve made my own. 

Flourishing Genres: 

Trends change, popular genres 

change. Things come and go. I represented 

probably 15 of the biggest 

acts out of Jamaica, but I reduced 

my roster of those clients as things 

happened like visa problems, the 

genre deteriorating, seeing a reduced 

amount of ticket sales and other 

indicators. I had to scale down how 

much time I spent on that genre. 

Following Success: 

I really enjoy what I do, and having 

success at it makes it even more 

enjoyable. I’ve been doing hip-hop 

for a long time. In my earlier days, 

I was excited to be working with Arrested 

Development and Naughty 

By Nature and all these great acts 

that were taking off. At one point, 

I was booking kids’ groups. I had 

kids and saw it was an open area 

I could get into. Sometimes, you’ve 

got to be a bit of a chameleon and 

move into different things that work 

for you. 

Game Changer: 

Before the Internet, if you weren’t 

on the radio you were kind of underground. 

I made a career of it, 

booking artists like Del Tha Funky 

Homosapien, Mix Master Mike or 

Ghostface Killa. There were a lot 

of these guys who had buzz and 

fans but weren’t big, mainstream 

names. Since the Internet took off, 

the underground kind of vanished, 

because now some rapper can put 

a song on the web and have distribution 

to the whole world that just 

wasn’t available before. 

Indicators: 

Looking at what’s popular is a great 

indicator of what’s happening. I 

sign-ed an artist named Watsky. He 

had this video where he’s rapping 

super fast and it had over 20 million 

views. That is as good as hearing 

you’ve gotten spins on a radio station. 

In fact, it’s probably an even 

stronger indicator. 

Sifting: 

I’m pitched groups all day, so it’s 

tough to decide what is going to go 

farther instead of just being another 

artist. That’s a challenge, something 

I feel I’ve been successful at. I look 

for artists with different ingredients 

and the more of them you have the 

better the potential. 

Of course, I’m looking for artists 

with great material and that’s the 

first thing. I look for artists who have 

a team of some kind. I look for artists 

who have press and buzz. I look 

for a following. Nowadays, social 

media is so important. Is the artist 

on Twitter, are they on Facebook, 

Peter Schwartz 

Vice President 

The Agency Group 

Years with Company: 19 

Address: 142 West 57 th St., 6th Floor, 

New York, NY 10019 

Phone: 212-581-3100 

Fax: 212-581-0015 

Web: http://theagencygroup.com 

E-mail: PeterSchwartz@theagencygroup.com 

Clients: Macklemore & Ryan Lewis, Wiz Khalifa, Mac 

Miller, Busta Rhymes, A Tribe Called Quest, Ghostface 

Killah, Redman, Waka Flocka Flame, Yo Gotti, Rakim, 

Big Boi, A$AP Rocky, Dilated Peoples, Dan the 

Automator 

do they have followers? Have they 

created any kind of buzz in their 

own region? 

An example is Macklemore & 

Ryan Lewis. They come out of Seattle, 

not the first place I’m looking 

for rappers typically, but when you 

find out that they’re blowing out 

two- and three-thousand capacity 

venues and no one outside of the 

Northwest knows about them, that’s 

another indicator there’s something 

good happening. 

A Contract’s Just a Piece 

of Paper: 

We have standard agency agreements. 

I don’t want to put too much 

on the contracts, because this is a 

service industry. If my clients are 

not happy with the work I’m doing, 

a contract isn’t going to do much. It 

helps if you have some kind of ugly 

split and want to sue somebody, but 

if you’re not planning to go to that 

level it doesn’t matter. 

Getting Started as an Agent: 

You need to go to some agency, get 

your foot in the door and learn the 

ropes. Most people start as an intern 

or an assistant. Once you know the 

structures of deals, then it becomes 

a case of the talent you can find 

and book. You can go from having 

nothing to having a big band and 

becoming a successful agent in a 

quick amount of time. Finding those 

artists, though, is not easy, especially 

if you’re a new guy and you’re 

competing with other agents that are 

established and probably have a lot 

more to offer. Learn the business 

and then start moving to high-end 

clients who can sell tickets. 

The Long Approach: 

Everyone’s main interest is: how do 

I make money and fast? My goal in 

terms of how I represent my artists is 

to not think short-term. How you get 

money the quickest is by setting up 

to make the most money long-term. 

That’s what I try to show my artists. 

A lot of times, it’s an education process. 

Most people want a quick hit. 

I tell them how to make sure they’re 

bigger, making more money and 

selling out venues 10 years from 

now. That’s not a quick hit approach. 

You don’t just go to an arena. All the 

artists playing at the bigger sizes 

have worked their way up. There’s a 

rare case where someone explodes 

and goes to the biggest venues, but 

it usually takes time. I try to push 

that on my artists as a reality. And if 

you do the right things, take the right 

steps and make the right deals, the 

money’s going to come. 

Making Moves: 

Sometimes, people make changes. 

An artist is out for a few years, 

you’ve done a great job with them 

and, for whatever reason, they think 

someone else can do better. Maybe 

an artist is with you for a few years 

and it’s not doing as well as anyone 

would like; the agent can take the 

fall. Generally, if you’re doing a good 

job, they’ll let you keep your job. If 

you see someone going downward, 

then maybe it’s time to let an artist 

go. There’s only so much time in a 

day and you want to focus on things 

that are going in the best direction. 

Playing to Size: 

The goal is to sell out the venues 

we’re playing. We book with that in 

mind. We’re very conscious of the 

size of the venue, ticket price and 

demo of the fan. There’s no better 

publicity, excitement and growth for 

an artist than when you have sold 

out shows. It’s a big part of the story 

for the artist and how we’ve had 

the most success. That’s the same 

formula I use for hip-hop, reggae, 

kids’ music, rock. To me, that is the 

only approach. Other approaches 

are short term. If you go to a venue 

that’s way too big and it doesn’t do 

as well, it won’t look good. If I put 

them in a venue that’s going to sell 

out, then people are talking about it, 

the promoters are making money, 

you’ve got a big story. There’s nothing 

like saying a show is sold out. 

Book Right: 

If possible, get to an agent who can 

help you. Try not to do it yourself. It’s 

better to do it yourself than not do it 

at all, but find the right shows to be 

on. Align yourself with groups that 

are popular. If you’re from Seattle, 

don’t try to become popular in Boston 

yet. Focus on the region you live 

in and build your base from there. 

Get Buzzed: 

Get your music out there. If the music 

is good, it can go places. You 

can become a phenomenon in another 

country. Look at Psy. There’s 

a perfect example of how one thing 

in another country can turn out to be 

an insane craze. Nowadays, groups 

are being signed based on what’s on 

the web. Create your own buzz. 


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 

 

network for artists, has announced 

that hip-hop legend 

Q-Tip will serve as a judge for its 

upcoming music competition. The 

contest is one of several that will 

reward the site’s winning users with 

$125,000 in grants and awards. 

Additional judges for the music 

contests, which will reward winners 

with $30,000 in cash, production and 

promotion contracts with Okayplayer 

& Downtown Records, and a 

feature in i-D Magazine, include DJ 

Spooky, Flosstradamus, Kate Earl 

and Stretch Armstrong. One of the 

most notable awards is the Times 

Square Award, in which the winner 

will have a video created about their 

work that will be played on the largest 

video screen in Times Square. 

For details, visit http://see.me. 

 

Watch in 2013” radio station. The 

station will give listeners a sneak 

peek at the songs, albums and artists 

that will define 2013, long before 

festival lineups are announced and 

new albums drop. You can listen 

to Slacker’s radio station for free 

and learn how you can submit your 

music at http://slacker.com/station/ 

Artists-to-Watch-2013. 

StudioTraxx.com has announced 

that it is now offering 

a variety of online marketing 

packages to artists, producers, 

managers, songwriters, 

and record labels. These online 

marketing packages target the most 

popular social networks including 

Facebook, YouTube, Twitter 

and ReverbNation. The goal is to 

increase likes, views and followers 

across these platforms in an effort 

to grow an artist’s fan base and 

ultimately drive sales. Founded 

in 2007, StudioTraxx has been a 

strong advocate for the creation 

of music and the creative musician 

community. The company is 

expanding its services to provide 

artists the opportunity to market their 

music through several compelling 

online marketing packages. Go to 

http://studiotraxx.com/marketing. 

If so, you 

need your Heavy Metal Television. 

From Lamb of God to Motley Crue 

and from Behemoth to Shinedown, 

Heavy Metal Television will 

bring both current and classic hard 

rock and heavy metal videos to 

your desktop, laptop or net ready 

flatscreen TV. Presented by young, 

VJ’s across the planet, no matter 

what your taste in hard music might 

lean toward, give the station a look 

and you’ll find a band that you love. 

The site is 100 percent free, with 

no login necessary. The music runs 

virtually nonstop with VJ. interludes 

and limited minute long commercial 

breaks consisting of four or five 

20-second music related ad clips. 

Just point your browser to http:// 

heavymetaltelevision.com to start 

watching. 

SCISSOR SISTERS ARE ALIVE 

The Scissor Sisters have toured the world, collaborated with the likes of Elton 

John and Kylie Minogue and sold millions of albums. U2’s Bono effusively 

describes the band as “the best pop group in the world.” Now the Sisters are 

offering a brand new DVD of their performance at Victoria Park in London, on 

July 17, 2011. Colourful and glitzy as ever, this New York outfit revels in garish 

costumes and twisted disco sounds that embrace a flamboyant spirit. The DVD 

features a four-page booklet, two bonus tracks and the smash hits “I Don’t Feel 

Like Dancin’,” “Filthy/Gorgeous,” “Take Your Mama” and many more. To check 

it out, go to http://scissorsisters.com. 

PER SE VISIT CONTROLLED CHAOS 

Fusion ensemble Per Se appeared on Gary Garver’s Controlled Chaos radio program 

to promote their CD release party at The Joint in Los Angeles, CA. Charles 

Whitehead and Herman Hogan were accompanied by LC Powell for a live, on-air 

performance. The trio performed songs from their new album, The Roads, and 

engaged the host in a spirited exchange. Garver’s show is broadcast over the Go- 

Cast Network to thousands of listeners. To find out more about Per Se, and/or the 

show—which features live music acts each week—go to http://persetheband. 

com, or email Garver at gary@doublegtv.com. Pictured (l-r): L C Powell, Herman 

Hogan, Gary Garver and (seated) Charles Whitehead. 

 

SIGNINGS 

 

informed MC’s Business Affairs 

that Los Angles-based rock band 

Acidic has signed with Megaforce 

(MRI)/RED. Their new album 

Copperman was produced by John 

Ryan (Sanatana, Lynyrd Skynyrd, 

Styx, et al). For more information, 

go to http://acidicband.com or visit 

http://benmclane.com. 

Backstage, the niche magazine 

for the acting and modeling community, 

is expanding its scope 

with the acquisition of Sonicbids, 

a social music marketing platform 

that connects bands, promoters, 

consumer brands and music fans. 

The joint reach of the two companies 

includes 600,000 registered 

users, with about 60,000 of them 

being paying subscribers. See http:// 

backstage.com and http://sonicbids. 

com for further details. 

 

signed two new acts to its roster: 

Baltimore, MD’s alternative rock 

act 3PM, and Newark, DE based 

neo psychedelic band Cosmic 

Punch. Creating a legacy for rock 

artists, alternative artists and poprock 

artists, Sunset Records started 

to release new material in June of 

2008 as a subsidiary of the Sunset 

Distribution Company. Headed 

by chairman and founder Don 

Lichterman, Sunset has signed and 

released music across a wide range 

of rock, pop, alternative, metal and 

soundtracks. For more information, 

visit http://sunsetrecordings.com. 

ers 

Orgy have announced their 

upcoming US headline tour, 

 

Dead Tour.” Supporting will be 

Vampires Everywhere and Davey 

Suicide. The month-long tour kicks 

off in Phoenix, AZ, on March 2 and 

will visit several major US cities until 

its close in Lincolnshire, IL on April 

2nd. The band’s new single, “Grime 

of the Century,” was released in the 

fall and has been well received by 

radio stations, press and fans alike. 

Orgy recently finished up a successful 

tour of the West Coast in select 

markets and plans to tour Europe 

in the summer of 2013. The band is 

currently in the studio recording new 

music. See http://orgymusic.com. 

 

good friends who have talked 

about doing shows together 

for years. Finally, that vision has 

become a reality. Two special concerts, 

featuring Bob Seger & the 

Silver Bullet Band and Kid Rock 

& the Twisted Brown Trucker 

Band, will take place in Minneapolis/ 

St. Paul, MN on March 15, with the 

second in Fargo, ND on March 16th. 

Seger and Rock became friends 

shortly after they met in 2000. Rock 

inducted Seger into the Rock And 

Roll Hall of Fame in 2004 and appeared 

on Seger’s 2006 Face The 

Promise album for a duet of Vince 

Seger 

appeared on Kid Rock’s Born Free 

album playing piano on his duet with 

Sheryl Crow. Both share an interest 

in classic cars and have stayed true 

to their Michigan roots. 

See http://bobseger.com and 

http://kidrock.com for more. 

 

 

the 1980s. The record Dead Alive!, 

released on the band’s label Misift 

Records, is entombed in the ultimate 


BUSINESS AFFAIRS 

greatest hits live package for the 

next generation of horror kids. With 

select tracks from the band’s encore 

set at their hometown show in New 

Jersey added for good measure, 

(recorded live on “Devil’s Night” no 

less), it is an audio Molotov cocktail 

guaranteed to have bonfires burning 

bright with pumpkin faces all year 

round. It is available on CD, and Ltd 

Edition 12-inch vinyl plus an MP3 

Card. For additional details, go to 

http://misfits.com. 

 

Greg Godovitz and Loverboy’s 

Paul Dean, have collaborated on 

a new solo album. Veteran Canadian 

rocker Godovitz knew Dean 

for many years before they ever 

collaborated on Godovitz’s debut 

solo effort aMuseMe. Godovitz, of 

course, has enjoyed a nearly fourdecade 

career as singer, songwriter, 

producer and bassist with legendary 

Canadian power trio Goddo. 

The seeds for Godovitz and Dean’s 

reunion took place in Calgary, when 

Gregg invited the Loverboy guitarist 

to sit in on his weekly Sunday night 

jam sessions at the Blues Can. 

See http://websd-greggodovitzcom. 

webs.com. 

 

 

Institute’s (FHCI) Breast Cancer 

Survivorship Program recently 

received $15,000 from Rock Pink. 

“In 2011, Rock Pink contributed 

$15,000 to support Florida Hospital’s 

Eden Spa and donated over 

$20,000 worth of iPads to the hospital’s 

chemotherapy floors. They 

have continued to support cancer 

patients year after year and this gift 

is another amazing contribution,” 

said Dr. David Decker, medical 

director at FHCI. Rock Pink is a 

charitable organization that is on a 

mission to bring music and humanity 

together, while raising health awareness 

and supporting local cancer 

programs. For more information, 

visit http://rockpinbk.com. 

 

Pearson Perry has put a twist 

on the YouTube model. Perry, 

founder of Atlanta Intown Songwriters, 

launched a passion 

project “Soundtrack of My Life” on 

YouTube. It’s a twist on how indie 

artists build their fan bases and 

are discovered, a la Bieber style, 

by covering today’s hit songs. But, 

instead of just covering current hits, 

Perry invites music lovers into her 

world by performing a cover song 

with special meaning to her. Each 

song has a story that accompanies 

it, allowing viewers to not only enjoy 

an old favorite, but also connect with 

Perry in a more intimate way. Check 

out http://pearsonperrymusic.com. 

THE BIZ 

 

opening night of this year’s Skate 

And Surf Festival. Slated for May 

18-19, the Freehold, NJ, event has 

confirmed more performers including 

Timeflies, Lights, Streetlight 

Manifesto, Miss May I, and others. 

These bands will be joined by A 

Day To Remember, Macklemore & 

Ryan Lewis, Saves the Day, Bayside, 

Andrew W.K., RX Bandits, 

Glassjaw, Hopsin, Transit, Into It. 

Over It., Hostage Calm, Issues, 

Tyler Carter, This Good Robot, 

and more. Skate And Surf Festival 

will also host the “The Break Contest,” 

a staple of The Bamboozle. 

Visit http://skatesndsurffest.com. 

nounced 

details of a new distribution 

deal for releases in North 

America. Teaming up with the 

HAVING FUND AT GRAMMY BILTMORE HOTEL PARTY 

Dennis Dreith, Administrator for AFM & SAG AFTRA IPRD Fund & Shari 

Hoffman manager AFM & SAG AFTRA IPRD Fund hung out with friend 

Linda Bocchi, the Executive Director Alliance of Artists and Recording 

Companies (AARC) At The Biltmore hotel Party for The Grammys. 

Pictured (l-r): Hoffman, Dreith and Bocchi. 

DIY Spotlight: 

These artists are so DIY they 

create their own opportunities 

when none exist. Ratcliff Bailey 

are two musicians, Tim Ratcliff 

and Ken Bailey, who realized 

playing the same old standards 

in the local bar scene was a 

slow, agonizing musical death. 

So, they decided to strike out 

on their own. 

Their mindset was to explore 

any opportunity, no matter how 

small or unreachable it seemed. 

Known to play anywhere, any 

time, for anyone, they report, “We 

told people we’d play a dogfight, 

because that’s our attitude.” 

They built their own recording 

studio and upgraded it until it was 

a full 24-track operation, albeit in 

a bedroom, and recorded over 

250 original songs there. 

The duo named it Westfield 

Recording Company because it 

sounded more professional than 

“two guys with a small home 

studio.” But, that wasn’t really a 

lie. The company does exist and 

Independent Label Group (ILG), 

Xtra Mile will now be able to release 

records from their ever expanding 

roster across America and Canada. 

Launching the new partnership 

with ILG will be the release of the 

new album by Future Of The Left. 

These Welsh rockers became one 

of the most talked about bands at 

the recent SXSW Music Festival in 

Austin, TX. 

According to Managing Director 

of Xtra Mile, Charlie Caplowe: 

“The team over at ILG were exactly 

what we were looking for to launch 

the label and great artists into this 

key territory. We’re over the moon 

about finalizing the deal and can’t 

wait to get cracking!” For additional 

information, go to http://xtramile 

recordings.com. 

 

label Pavement Entertainment 

has announced a UK/European 

distribution and marketing venture 

with UK based RSK Entertainment. 

Previously announced 

Pavement joined forces with Sony 

RED and MRI/Megaforce in a 

unique partnership and distribution 

—BERNARD BAUR 

Ratcliff Bailey 

has grown steadily. 

They wanted their songs 

heard, so they founded Westfield 

Radio, and have had listener 

“hits” from every continent except 

Antarctica. 

The artists even started 

hosting The Westfield Alliance 

Indie Show, which is simulcast 

via eight stations in the US, 

Canada and Scotland. The 

program regularly features 

independent artists from over 20 

countries. 

They won an “Artist of the 

Year” award from Viking Radio, 

and are currently in negotiations 

with an independent label to 

release their third recording. 

Yet… just like other acts, they 

occasionally get ignored when 

they send out Digital Press Kits, 

but they’re used to it. In fact, their 

mission follows their company’s 

motto: “Fight the Silence!” 

To find out more about these 

ambitious artists, visit http:// 

westfieldrecording.com. 

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

deal last year. Currently scheduled 

are releases from Hell Or High 

Water and Dark New Day’s long 

awaited release of Hail Mary featuring 

members of Evanescence and 

Sevendust. Coming in March is a 

pure slab of Death Metal from Italy’s 

The Modern Age Slavery entitled 

Requiem for Us All. For additional 

information, go to http://pavement 

music.com. 

town 

has teamed up with Spotify. 

In addition to browsing concerts by 

your favorite artists and Bandsintown’s 

recommendations, Bandsintown 

Concerts for Spotify allows you 

to listen to full songs and albums. 

With the new app, users can create 

customized playlists of bands & 

DJs playing in their town, which 

enhances new music discovery. 

Search Bandsintown in your Spotify 

App Finder to test it out. 

MICRO-BIO: Voted one of the “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. 


“I’ve Already Earned $50,126 Using 

TAXI and My Little Home Studio.” 

Matt Hirt – TAXI Member 

Is your music good enough to 

make money? 

I was pretty sure mine was too, 

but I didn’t have a clue how to make 

great connections. I’m just not good 

at playing the “schmoozing” game. 

And even if I was, I had little chance 

of meeting the right people. 

I needed a way to market my 

music, so I joined TAXI and the 

results were nothing short of 

incredible. 

Now, all I have to worry about is 

making great music. The people at 

TAXI do an amazing job of hooking 

me up with opportunities that I 

would never uncover on my own. 

I’ve already cut deals for more 

than 70 of my songs, and they’re 

getting used in TV shows like 

Dateline, Law and Order SVU, and 

The Osbournes. And yes, I’m 

making money. 

I was kind of surprised that the 

recordings I make in my little home 

studio were good enough. I guess 

size really doesn’t matter;-) 

Want to know what does 

matter? Versatility. Being able to 

supply tracks in different genres 

makes you even more desirable for 

Film and TV projects. I didn’t 

know that until I became a TAXI 

member and started going to their 

members-only convention, the 

Road Rally. 

If you joined TAXI and never 

sent in a single song, you’d still 

get more than your money’s worth 

just by going to their convention. 

It’s three days of incredible panels 

loaded with some of the most 

powerful people in the music 

business, and the cool part is that 

it’s FREE! 

Unlike some of the other 

conventions I’ve attended, the 

panelists at the Rally are friendly 

and accessible. I’ve never been 

anywhere that gives you so much 

great information, and so many 

chances to meet people who can 

help your career. 

If you’ve needed proof that a 

regular guy with ordinary equipment 

can be successful at placing music in 

TV shows and movies, then my 

story should do the trick. 

Don’t let your music go to waste. 

Join TAXI. It’s the best service on 

the planet for people like you and 

me – they really can turn your 

dreams into reality if you’re making 

great music. 

Do what I did. Call TAXI’s 

toll-free number, and get their free 

information kit. You’ve got nothing 

to lose, and a whole lot to gain! 

The World’s Leading Independent A&R Company 

1-800-458-2111 


SIGNING STORIES 

PROXY 

Date Signed: June 2012 

Label: Dim Mak Records 

Type of Music: Dance / Electronic 

Management: Matthew Stuart / ATM 

Booking: Joel Zimmerman / WME 

Legal: NA 

Publicity: John Ochoa / Mitch Schneider Organization, 14724 

Ventura Blvd., Ste. 500, Sherman Oaks, CA 91403, 

818-380-0400 ext. 231, jochoa@msopr.com 

Web: http://facebook.com/useproxy 

A&R: Steve Akoi / Dim Mak Records 

Russian beat maker Proxy first shook listeners with his own label, 

Mako Records. When Tiga’s ship, Turbo Recordings, caught wind 

of his massive sound through Myspace in 2006, they snatched up 

the Eastern sensation. With that deal handling distribution in all territories 

except America, they needed to fill the gap. 

Dim Mak, Steve Akoi’s label, closed that space. While Turbo executed 

the deal, Proxy had zero qualms about the agreement. “I trust the guys at 

Turbo, as they have my best interests at heart,” the producer enthuses. 

“Luck plays a factor, 

but you have to make your 

own luck!” 

A level of mutual admiration further aided in smoothing over any 

potential tensions. “Steve Akoi is a fan, which makes things much easier,” 

offers Proxy, whose album, Music From the Eastblock Jungles, hit on Nov. 

6th. “He is a man I have great respect for. He made a great label with his 

signings and the team there is superb.” Proxy reports that the negotiations 

were basic and fair to both sides. “When you are dealing with good people, 

good things happen,” he muses. 

As far as bringing his sound Stateside is concerned, Proxy didn’t worry. 

“America is a great place to tour and be,” he insists. “The crowds are 

always superb and up for the party.” While it’s still early to declare the 

move a financial windfall, the agreement has brought him much attention 

and the label’s backing has allowed him to tour in serious fashion. 

Most importantly, aligning with a label that specializes in his genre 

was key. “Luck plays a factor, too,” he advises, “but you have to make 

your own luck!” 

The second installment of Proxy’s Music From the Eastblock Jungles 

series became available on Feb. 11th. 

——Andy Kaufmann 

SATELLITE 

Date Signed: September 2012 

Label: Descendant Records / Sony Music 

Type of Music: Alternative Rock 

Band Members: Steven McMorran, vocals/guitar; Mitch Allan, guitar; Josh 

Dunahoo guitar; and Erik Kertes, bass 

Management: David Mantel / AAM Inc., 917-699-8711 

Booking: Ken Fermaglich, Bryan Vastano / The Agency Group, 212-581-3100 

Legal: Doug Mark, 310-818-7242 

Publicity: Rachel Miller / Big Picture Media, rachel@bigpicturemediaonline.com, 

212-675-3103 

Web: http://wearesatellite.com 

A&R: Jay Harren 

Satellite vocalist Steven McMorran was hardly starting from scratch 

when it came time to look for a label deal for his band’s first fulllength 

album. He and longtime publishing company-mate Mitch Allan, 

the former frontman of platinum ‘90s act SR-71 (who is Satellite’s producer 

and guitarist), were already successful songwriters with major connections. 

But they were starting their own band to release material that moved 

them unlike anything they’d worked on before; they would need a label 

respectful of that. 

“[Industry gatekeepers] want to be 

convinced that you’re doing something 

you have to do.” 

McMorran had known Descendant Records founder Jay Harren since 

Harren’s days at Columbia, and eventually the two connected to discuss 

Satellite’s progress and Harren’s new Sony-distributed indie label. Says 

McMorran, “Jay said, ‘I know you’ve been building something and I want to 

let you know I’ve been building something too. I want to build what you’re 

building with you; we’d be building something together.’ 

“That sentence stuck with me,” McMorran continues. “I just loved that he 

cared about it so much.” A contract that McMorran calls “gentlemanly” and 

“gracious” was presented, and the result is the label’s release of the LP 

Calling-Birds on March 5th. 

Prior to Satellite, which represents McMorran’s first-ever foray into 

singing lead vocals, he spent years as a touring bassist looking for a way 

to supplement his income by writing songs. Finally, a co-writer friend 

invited him to a songwriting session that would produce a song Celine Dion 

ended up cutting for release in 2007. 

“There was a lot more work to do after that, but yeah, that was my 

getting-out-of-the-gate moment,” says McMorran. “I think [industry 

gatekeepers] want to be convinced that you’re doing something you have 

to do. And eventually time kind of weeds people out, but along the way it 

also develops [those who are persistent]. And eventually people notice… 

especially when you stop looking for people to notice!” 

——M.D. Moore 


SIGNING STORIES 

THE STAVES 

Date Signed: Winter 2011 

Label: Atlantic Records 

Type of Music: Folk Pop 

Band Members: Camilla, Emily, Jessica Stavely-Taylor 

Management: Sumit Bothra 

Booking: Adam Voith, adam@billions.com 

Legal: Erica Bellarosa 

Publicity: christina.kotsamanidis@atlanticrecords.com 

Web: http://thestaves.com 

A&R: Gregg Nadel 

In their pre-Atlantic Records days, the musical careers of the three 

sisters Stavely-Taylor (Camilla, Emily, Jessica) were not unlike that 

of any other artists. They made home recordings. They wrote songs 

together at their mother’s kitchen table. They earned only enough to 

finance the next tour. But the Staves’ heavily harmonized folk pop was 

beguiling enough to attract the attention of both Glyn Johns (Rolling 

Stones, Led Zeppelin) and Ethan Johns (Ryan Adams, Tom Jones), 

separately, and prompt the producers to pass along the English trio’s 

music to Atlantic Records. 

“They asked us if we were interested in talking to a label,” vocalist 

Emily says. “We hadn’t really thought about it. Ethan had just worked with 

Paolo Nutini, who was with Atlantic. He said the label seemed to be very 

artist-focused and was better than any other label he’d worked with.” 

Atlantic liked what they heard, and after attending one of the Staves’ 

performances in London, the label offered the band a deal on the spot. 

Emily says she doesn’t recall many details of the meeting, only that 

it was promising enough to accept the offer. “The thing I remember 

“Having grown up together, 

we know what it’s like to be in the car 

with each other for 12 hours." 

about the deal is that they were so compromising. There was such a 

willingness to make it work.” 

As sisters making music professionally, Emily says they had to 

navigate the relationship between family unit and band as well as the 

new relationship with Atlantic. “Having grown up together, we know 

what it’s like to be in the car with each other for 12 hours. We know how 

to communicate with minimum dialogue. That can be very helpful in 

getting stuff done creatively or business-wise, it also means that you 

kind of have to work at being professional with each other when you 

need to be. And the three of us had to learn to let other people in and 

trust that other people are ok as well.” 

Following a handful of EPs with Atlantic, the Staves released their 

debut LP, Dead & Born & Grown, late last year, on which the father-andson 

Johns producers collaborated for the first time. 

—Jessica Pace 

HOLLIS BROWN 

Date Signed: Dec. 29, 2012 

Label: Alive Records 

Type of Music: Americana / Alt-Rock 

Band Members: Mike Montali, guitar, vocals; Jon Bonilla, lead guitar, vocals; 

Dillon DeVito, bass; Mike Graves, drums 

Management: Albert Barabas 

Booking: Jon Bell / New Frontier Touring, 615-321-6152 

Legal: John Rybicki 

Publicity: Sarah Avrin / Girlie Action Media, sarah@girlie.com 

Web: http://hollisbrown.com 

A&R: Patrick Boissel 

The sounds of rough and tumble blues, southern rock, traditional 

country, vintage Neil Young and John Fogerty are not musical 

touchstones necessarily associated with New York City. But that 

is, indeed, where hometown boys Hollis Brown originate from. Their 

journey to getting signed with Burbank, CA-based Alive Records was, 

much like their music, a very natural and organic one. “We recorded 

a full album independently in Nashville with producer Adam Landry,” 

says guitarist-vocalist Montali. “We released a few songs from that 

session and put out an EP in April/May of 2012. One of Alive’s 

bands, the Buffalo Killers, and us share the same booking agent. 

They recommended we send the label our record and they were very 

receptive.” 

On the strength of that EP, Hollis Brown toured extensively and 

received strong press on it. That four-song release led to Alive picking 

up and issuing their current album Ride on the Train. Staying in vogue 

with the classic and rustic style of the music, the band chose to eschew 

the digital realm in favor of going analog tape, with minimal overdubs. 

“We still own all our songs and 

they were very lenient with us keeping 

the rights to our music.” 

“We’ve done the whole Pro Tools thing and made everything neat 

and nice,” explains Montali. “But I don’t really think it fits our band sound 

and how we are. We have more of a direct-to-tape kinda sound. It’s rock 

& roll, you know!” 

With songs like the soulful and empathic “Cold City” and the heartfelt 

“Gypsy Black Cat” you sense the aesthetic of Hollis Brown is all about 

community and dealing with others on an honest and very open level. 

And, apparently, that is the kind of relationship they have with the folks 

at Alive. “We still own all our songs and they were very lenient with 

us keeping the rights to our music,” says lead guitarist Bonilla. “They 

wanted us to release the album the way we did it,” continues Montali. 

“We felt really comfortable with them and they encouraged us to be 

the artists that we are. They’re gonna promote the record properly and 

are established at getting bands on the radar. It’s the right opportunity 

at this time and it’s been great so far. I think people that like a lot of the 

roster bands on Alive would like us also.” 

—Eric A. Harabadian 


SONG BIZ 

ASCAP SERVES UP MUSIC CAFE 

In its 15th year as a special program of the Sundance Film Festival, the 

Sundance ASCAP Music Café continues to provide a fantastic opportunity for 

filmmakers and music creators to connect in a warm and intimate setting. 

Pictured (l-r): Eddie Barnash and Jon Batiste, the Stay Human Band; Loretta 

Muñoz, ASCAP; Joe Saylor and Ibanda Ruhumbika, the Stay Human Band. 

SESAC 

SIGNS BOSCO 

FRANCE 

SESAC has 

welcomed artist 

and songwriter 

Bosco France for 

representation. 

France, who 

hails from 

Madisonville, 

KY, is the 2012 

winner of Guitar 

Center’s Battle 

of the Blues 

competition, 

beating more than 

4,000 guitarists 

throughout the US 

to take home the 

honor. Pictured 

(l-r): Tim Fink, 

SESAC and Bosco 

France. 

Spring Training: Songwriters 

Sessions 

Go to Nashville for the Nashville 

Songwriters Association International’s 

Spring Training on April 5 and 6th. This twoday 

interactive seminar combines the best of 

large and small group settings. Professional 

songwriter panels, powerhouse educational 

segments—not to mention the ever-popular 

publisher breakout sessions—are all designed 

to deliver an intensive crash course in the craft 

and business of songwriting. 

Featured guests include J.D. Souther, 

who's one of the principal architects of the 

“California Sound,” and a co-writer of the 

Eagles’ “Heartache Tonight,” “Victim of Love,” 

“New Kid in Town,” and “Best of My Love,” 

along with Don Henley's super hit "The Heart 

of the Matter.” Souther will be speaking at the 

opening session. Hit songwriter Kara DioGuardi 

will be closing the show with a special interview 

and performance. 

For complete information about the event, visit 

http://nashvillesongwriters.com. 

A License Made Easy 

from ASCAP 

The American Society of Composers, 

Authors and Publishers (ASCAP) has 

announced the launch of ASCAP PLAY 

MUSIC licensing for websites and mobile apps. 

Designed to make getting an ASCAP license 

easier and more affordable for individuals and 

small businesses, the new agreement is at http:// 

ascap.com/licensing/digital. 

In just three easy steps, owners of qualifying 

websites and mobile apps can purchase a 

license online for $240 per year. And with 

no annual reporting, the license is virtually 

maintenance free. 

ASCAP licenses its catalog of over 8.5 

million music works to thousands of new and 

established services, ranging from start-ups to 

the biggest players on the Internet and mobile 

platforms, as part of its mission to obtain 

fair compensation for its more than 450,000 

songwriter, composer and music publisher 

members. 

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

Croce's 12 Tales 

It starts with “Right on Time” as A.J. Croce 

has launched his most ambitious recording 

project to date. 12 Tales, a dozen new tracks, 

recorded by legendary producers “Cowboy” 

Jack Clement (Johnny Cash, Jerry Lee 

Lewis); New Orleans’ Allen Toussaint (Paul 

McCartney, Eric Clapton), and West Coast 

roots master Joe Henry (Elvis Costello, 

Solomon Burke) across a variety of American 

cities. Beginning with the first single, “Right on 

Time,” produced and mixed in Stamford, CT by 

five-time Grammy winner Kevin Killen, Croce 

will release one song each month, culminating 

with the complete full-length release of the 

CD at the end of 2013. Details at http:// 

seedlingrecords.com. 

Downtown says “Oh Yes” 

to Ono 

Downtown Music Publishing (DMP) 

recently announced the signing of publishing 

administration agreements for the US with 

JAM AND LEWIS: UNIVERSAL APPEAL 

The long-running songwriting and production team of Jimmy Jam (right) 

and Terry Lewis (left) have signed an exclusive worldwide publishing 

administration agreement with Universal Music Publishing Group. For 

complete details, visit http://umpg.com. 

BMI IN THE SPIRIT 

Hosted by BMI Vice President, Writer/Publisher Relations Catherine Brewton 

and BMI President & CEO Del Bryant, BMI recognized the contributions of gospel 

greats Edwin Hawkins, Lady Tramaine Hawkins and Kurt Carr at the 14th Annual 

Trailblazers of Gospel Music Awards Luncheon in Nashville. Pictured (l-r): Yolanda 

Adams; Del Bryant, BMI President & CEO; Catherine Brewton, BMI VP, Writer- 

Publisher Relations; and singers Amber Bullock and Le’Andria Johnson. 


SONG BIZ 

—DAN KIMPEL dan@dankimpel.com 

KOBALT ACHIEVES 

GROHL CONTROL 

Kobalt has finalized 

a deal with Dave 

Grohl to take over the 

exclusive worldwide 

administration rights 

to all of the musician’s 

music, from Nirvana to 

the Foo Fighters to Them 

Crooked Vultures. As part 

of the agreement, Kobalt 

will handle all synch and 

creative opportunities for 

Grohl’s music, including 

the new songs that will 

appear on the soundtrack 

to his documentary 

film Sound City - Real 

to Reel, which debuted 

at Sundance with the 

album set for release 

this month. See http:// 

kobaltmusic.com. 

THIRD TIME'S A CHARM: CMA SONGWRITERS 

The annual CMA Songwriters Luncheon and presentation of the CMA Triple 

Play Awards, which honors songwriters who pen three chart-topping hits in 

a 12-month period, was held at Marathon Music Works in Nashville, TN. Back 

row (l-r): Neil Thrasher, Rodney Clawson, Ben Hayslip, Josh Kear and Brantley 

Gilbert. Front row (l-r): Eric Paslay, Dierks Bentley, Shane McAnally and Chris 

Young. Not pictured: Dave Haywood, Charles Kelley and Eric Church. 

DONN JONES/CMA 

Lenono Music and Ono Music, home to the 

song catalogs of John Lennon and Yoko 

Ono, respectively. Under the terms of the 

agreement, which is in effect immediately, DMP 

will represent Lennon's solo works, including 

“Imagine,” “Instant Karma (We All Shine On),” 

“Power to the People,” “Happy X-Mas (War Is 

Over)” and others. 

DMP will also represent the complete works 

of Yoko Ono, from her double-album opus Fly 

to YOKOKIMTHURSTON, her recently released 

collaboration with members of Sonic Youth. 

Previously, the two catalogs had been 

administered by EMI since the 1990s. The 

deal is DMP’s first as a stand-alone publisher. 

Over the past 12 months, Downtown Music 

Publishing has doubled the size of its 

copyright portfolio to over 40,000 titles under 

management. 

Visit http://downtownmusicpub.com. 

MediaNet: New Player 

MediaNet, the back-end of such digital 

services such as Mog/Beats and Songza, is 

expanding its offerings by providing mechanical 

rights licensing and administration. MediaNet 

currently relies on the Harry Fox Agency 

(HFA) to supply publishing licenses for the 

master rights it provides to services. But now 

the company is adding research staff so it can 

conduct direct licensing with publishers not 

affiliated with HFA. It also plans to offer those 

services to digital music service providers that do 

not use MediaNet as their back-end. 

While MediaNet is competing against 

players like Music Reports and HFA’s 

Slingshot operation, it is rumored that 

at least two of the major US PRO’s are 

considering entering into the mechanical-rights 

administration business also. 

Get details at http://mndigital.com. 

Capitol CMG Publishing 

Launches 

Universal Music Group Publishing and 

the Capitol Music Group and have launched a 

new publishing entity, Capitol CMG Publishing, 

which combines EMI CMG Publishing and 

Brentwood Benson Music Publishing. 

In putting together the two Christian 

publishing divisions as part of rationalizing 

UMG’s acquisition of EMI, EMI CMG president 

Eddie DeGarmo was named president of the 

new merged publishing arm, while Brentwood 

Benson president Dale Mathews is leaving 

the company. DeGarmo will report to Capitol 

Christian Music Group president/CEO Bill 

Hearn and UMPG North America president 

Evan Lamberg. 

In addition to having such songwriters as 

TobyMac, Kirk Franklin, Chris Tomlin, Casting 

Crowns and Jars of Clay, the new entity will 

also encompass such prominent Christian 

music catalogs as sixsteps, Thankyou Music, 

Hillsong, Maranatha! Music, Emack Music, 

Reunion Music and the Sparrow catalogs, 

repository to numerous legendary gospel and 

Christian evergreens. 

MICRO-BIO: Dan Kimpel’s newest book, It All Begins with the 

Music, is penned with legendary A&R exec Don Grierson. Hear 

Dan’s audio interviews worldwide on Delta Airlines. 

BMI FLEXES WITH MUSCLE SHOALS 

BMI and the Sundance Film Festival presented the 11th annual Sundance 

Snowball music showcase in Park City, UT. This year’s Snowball celebrated the 

music documentary, Muscle Shoals, which premiered at the festival. Pictured 

(l-r): Percy Sledge and Doreen Ringer Ross, BMI VP, Film/TV Relations. 

WILLIE AND KRIS: LEGENDARY WRITERS HONORED 

Music icons and longtime friends Kris Kristofferson and Willie Nelson 

(l-r) were both honored by the NSAI (Nashville Songwriters Association 

International) for their unprecedented contributions to music history. One was 

bestowed with an award bearing his name, while the other is the inaugural 

recipient of that honor. The two reunited at Nashville’s famed Bluebird Café, 

where Kristofferson, the namesake, presented the first trophy to Nelson. 


SONG BIZ 

SONGWRITER PROFILE 

John Braheny 1938-2013 

By Dan Kimpel 

John Braheny, the man known as the “Songwriters Best Friend,” 

and the author of the best-selling book The Craft and Business 

of Songwriting, died Jan. 19 in Los Angeles, CA. He was 74. 

Through his book, his lectures and his advocacy, Braheny cast a major 

influence over successive generations of songwriters. He was also the 

first freelance journalist hired by a then fledgling Music Connection 

magazine back in 1977, to write about 

songwriters and the songwriting 

community. 

Community was the soul of 

Braheny’s enduring commitment. 

Along with partner Len Chandler, 

Braheny was the co-founder 

and director of the Los Angeles 

Songwriters Showcase (LASS), a 

national non-profit organization that 

provided exposure and encouragement 

to an impressive list of later-tobe-successful 

new writers and writerartists 

from 1971-1996 including 

Fleetwood Mac’s Stevie Nicks 

and Lindsay Buckingham, Janis 

Ian, Warren Zevon, Karla Bonoff, 

Stephen Bishop, Wendy Waldman and pop music’s most successful 

contemporary songwriter, Diane Warren, for whom Braheny and 

Chandler critiqued over 150 songs when she was only 15. 

The weekly showcases, held at a variety of venues across L.A., 

featured the publisher song evaluation Cassette Roulette and the A&R/ 

project sessions, Pitch-A-Thon. Most significantly, these weekly events 

were the flashpoints for countless collaborative hookups. In addition, 

LASS’ national membership could send in songs for the appropriate 

publishers, artists or projects. 

In 1977, Braheny, Chandler and a tight circle of creative friends— 

among them, the late Mandi Martin—devised the first-ever Songwriters 

Expo. For over two decades, this event reigned as the largest and most 

comprehensive annual education and discovery event held exclusively 

for songwriters in the world. 

In recent years, Braheny taught songwriting and music business 

seminars across North America and classes at UCLA, Musicians 

Institute, L.A. Recording School (Hollywood) and the Songwriting 

School of Los Angeles while also consulting and coaching. He was a 

longtime screener at TAXI, the independent A&R company who hired 

him early in the company’s history as a consultant. As a journalist, 

John Braheny published over 600 in-depth interviews for a variety of 

magazines including the magazine he co-founded and edited for, LASS, 

The Songwriters Musepaper. John conducted audio conversations with 

55 hit songwriters for United Airlines in-flight Entertainment Network 

from 1998 - 2005, and was the on-air co-host of Samm Brown’s For the 

Record broadcast on KPFK, Pacifica Radio in Los Angeles. 

Born in Iowa, Braheny first broke into the music business as a touring 

and recording artist and released a solo album in 1970 titled Some Kind 

of Change. His songs were recorded by others including “December 

Dream” (Linda Ronstadt & the Stone Poneys). Braheny served three 

terms on the Board of Governors of the L.A. Chapter of the Recording 

Academy. He was past president of the California Copyright Conference 

(CCC), and served on the Board of Directors of the National Academy of 

Songwriters (NAS), the Songwriters Guild of America, and on the boards 

of advisors for many organizations throughout the US and Canada. 

On a personal note: when I arrived in Los Angeles, John hired me for 

my first job in the business, selling advertising space in The Songwriters 

Musepaper, and I became an interviewer because John needed me to 

cover when he was unable to interview songwriter and producer Thom 

Bell (the Stylistics, the Delfonics, the Spinners, Elton John and Dionne 

Warwick). John loved to play his fiddle and jam with other musicians. 

His level of enthusiasm for songwriters never waned, and his excitement 

at discovering new songs and artists was inspiring. When I interviewed 

John and his wife JoAnn for my book Electrify My Soul: Songwriters 

and the Spiritual Source, he said, “When people have come to this 

world with gifts, there are many opportunities for them to either deny 

these gifts or to embrace them.” John truly embraced what he had been 

given for the benefit anyone who came in contact with him; to provide 

an unshakeable moral compass, and an incredible depth of wisdom and 

compassion. 

In addition to his wife, JoAnn, John is survived by a brother Kevin, a 

sister Mary, a son, Michael Toth, a grandson, Evan, and thousands of 

grateful songwriters. Plans for a memorial celebration are pending. Visit 

the Facebook page “Friends of John Braheny.” 


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. 

78!!9:' 

;,'?+,5/' 

+@+5A

Backbeat 

DROPS 

Meet John, Paul, George, Pete and Stu in 

the new stage production Backbeat. Before Sgt. 

Pepper. Before Abbey Road. Even before Ringo, 

there were five Beatles. Five rowdy working class 

lads from the docks of Liverpool, England, rocking 

out eight days a week in the raucous clubs and 

red-light seediness of Hamburg, Germany, to 

create what would become an epic new sound. 

This stage production, based on the 1991 film of 

the same name, is their story: the first beat of a 

musical revolution and an unexpected romance at 

the heart of rock & roll. Rhino has the soundtrack, 

which includes chestnuts “Johnny B Goode,” 

“Twist and Shout,” “Roadrunner” and others. 

Backbeat will be at the Ahmanson Theatre in 

Los Angeles, CA, until March 1st. A Broadway run 

is scheduled for later this year. For more information, 

contact Joel Oberstein, joel@almightymusic 

marketing.com or 818-752-8000. 

Film music industry veterans Ian Hierons, 

Seth Kaplan and Christine Russell have 

launched Score Revolution, an online platform 

that connects film-music rights holders with music 

licensing customers worldwide, including advertisers, 

brands, filmmakers, film trailer houses, 

music supervisors and other media licensing 

professionals. The platform has already attracted 

entertainment companies Studio Canal, Lionsgate, 

Lakeshore, Constantin Film, Cattleya 

and Voltage, as well as many other companies 

and composers. To learn more, contact Lauren 

Karasek at Fleishman-Hillard, 310-482-4276, 

lauren.karasek@fleishman.com or visit http:// 

scorerevolution.com. 

VICE Films and Snoopadelic Films have the 

March 15 theatrical release of Snoop Lion’s RE- 

INCARNATED, the feature film that traces the life 

and career of hip-hop legend Snoop Dogg, as 

he embarks on a “journey of reincarnation of 

self” that is equal parts career reinvention and 

spiritual reawakening. The close-up documentary, 

directed by Andy Capper, showcases his 

journey and controversial transformation from 

hip-hop star to reggae singer while he was 

recording his forthcoming album REINCAR- 

NATED, executive produced by Major Lazer. An 

official selection of the Toronto International 

Film Festival, REINCARNATED opens in six cities 

across the US. For more information, contact 

Juliette Eisner at Vice Media, 646-825-1773 or 

juliette.eisner@vice.com. 

Award-winning composer Christopher 

Lennertz wrote the score for Identity Thief, the 

Aggregate Films/Universal Pictures crime 

comedy which hit theatres Feb. 8th. The film 

stars Jason Bateman (Horrible Bosses) and 

Melissa McCarthy (Bridesmaids). Lennertz 

recorded the majority of the music for Identity 

Thief at his new state-of-the-art recording facility, 

Sonic Fuel Studios in El Segundo, CA. 

The composer reteamed with several Horrible 

Bosses musicians including Jane’s Addiction 

bassist Chris Chaney; Earth, Wind and 

Fire keyboardist and music director Myron 

McKinley; and Beastie Boys keyboardist 

Money Mark. Lennertz also recorded with a full 

orchestra at Warner Bros.’ Eastwood Scoring 

Stage in Los Angeles, CA. The Identity Thief 

score album will be available March 5, 2013 on 

La-La Land Records. 

TV Mania is the art/music/multimedia project 

from Duran Duran’s Nick Rhodes and Warren 

Cuccurullo. Discovered recently deep within 

the vaults after its mid-‘90s creation, the concept 

album Bored With Prozac and The Internet? 

will now be released on March 11th. The 

tracks were constructed by blending television 

samples and looping rhythm tracks to create a 

sonically sophisticated collection of songs that 

now serve as the perfect backdrop for the frenetic 

energy and atmosphere of today’s digital 

age. The TV Mania project comes to vinyl and 

a limited edition box set through The Vinyl Factory 

and digitally via The Orchard/Beatport. 

Visit http://tvmaniamusic.com or contact Gina 

Schulman, gina@pressherepublicity. 

The Signature Music Series at Berklee has 

a full season of jazz, R&B, soul, Celtic and mu- 

sical theater performances by a cross-section 

of Berklee students, faculty and alumni, and 

award-winning musicians. Coming up are The 

Music of Bill Whelan, best known as composer 

of Riverdance as well as credits including U2, 

Van Morrison and Kate Bush (April 11), and 

Hair: The American Tribal Love-Rock Musical 

(April 25-26th). Purchase tickets at http://berk 

leebpc.com, by calling 617-747-2261, or at the 

Berklee Performance Center Box Office. 

Featuring an original score by Liam Hayes, 

who has made music under the name Plush 

since the early ‘90s, the soundtrack for the 

movie, A Glimpse Inside The Mind Of Charles 

Swan III, hits retail March 19 on CD and LP on 

Night Fever Music. Along with a heavy synth, 

country and western performed by Jason 

Schwartzman, the soundtrack also contains a 

beautiful cover of the Brazilian classic, “Aguas 

de Marco,” performed by Katheryn Winnick 

and Charlie Sheen. Hayes was contacted to 

provide the score by director Roman Coppola, 

a huge fan. Contact Pam Nashel Leto at Girlie 

Action Media, pam@girlie.com. The 10th anniversary 

season of Glorya Kaufman presents 

Dance at The Music Center continues with 

TRACES, April 26-28 in Los Angeles, CA, at the 

Liam Hayes 


Music Center’s Dorothy Chandler Pavilion. 

An Off-Broadway smash combining traditional 

acrobatic forms with street elements such as 

skateboarding and basketball, mixed in with 

some theatre and contemporary dance, the production 

is making its Music Center debut. During 

the engagement, TRACES will also perform 

for over 18,000 local 5th graders as part of the 

annual Blue Ribbon Children’s Festival. See 

http://musiccenter.org or contact goldman@ 

dcpublicity.com. 

Claire "Pearson" Perry 

Composer Atli Orvarsson provides the 

score to the Paramount Pictures/MGM film 

Hansel and Gretel: Witch Hunters, which 

reimagines the classic fairytale, turning it into a 

dark and edgy adult-oriented thriller. Orvarsson 

also just completed scoring the film A Single 

Shot in London. Contact Alex May at Costa 

Communications, 323-650-3588 or alex@ 

costacomm.com. 

OPPS 

Web Radio Central is busy with the transfer 

of data from WRC to a new website, but because 

the new website is going to have many 

more features, they are looking for band photos. 

Send photo to support@webradiocentral.com 

with the name, genre and location of performer 

and/or group. 

Now in its third year, the Driven Music 

Conference arrives in Fort Lauderdale, FL, 

on May 16-19 to connect artists with professionals 

in the music business world. Artists of 

all genres will be in position for a chance to 

advance their careers at panel discussions led 

by Van’s Warped Tour founder Kevin Lyman; 

Ron Burman (signed Nickelback); Atlantic 

Records Radio Promotion Manager Johnny 

Coscia; Mayday Parade Manager Josh Terry; 

Warner/Chappell Music A&R Marc Wilson 

and opportunities for those interested in placements 

for film or TV. Submit music now at http:// 

drivenflorida.com for a chance to showcase. All 

genres welcome. All artists who submit receive 

one free Two-Day Panel Pass. 

Teens Channel 17 is a teenager-targeted 

digital TV channel that provides fully programmed 

viewing content for ages 12-19. The 

site airs live events broadcasts of teen events 

and emerging recording artist music videos 

from around the world, Teen News, reality talk 

shows and movies. They are seeking music 

videos and there is a $100 submission fee. 

The channel is also offering to provide media 

production and coverage. Events consulting is 

required for pricing. To learn more, visit http:// 

teenschannel17.tv. 

PROPS 

Currently in post-production is a British musical 

feature film and documentary titled My Generation 

Living The Dream. The cornerstone 

of the film is bands/music from different eras, 

portraying social realism via music through the 

eyes of both the celebrated and those still on 

the music circuit. The film was designed as a 

platform for young people to showcase their 

talents and gain experience in the industry by 

playing themselves while portraying a dogged 

determination to live their dream. Contact 

eileenconnell@fsmail.net or visit http://mygen 

erationbritishfilm.com. 

Claire “Pearson” Perry, founder of Atlanta 

Intown Songwriters, has launched her passion 

project Soundtrack of My Life on YouTube. 

It’s a twist on how current indie artists build 

their fan base by covering today’s hit songs and 

being discovered by YouTube searches, a la 

Justin Bieber. Instead of covering current hits, 

each week she will invite music lovers into her 

world by performing a cover song with special 

meaning to her. Go to https://youtube.com/user/ 

pearsonperrypeople to subscribe. Learn more 

about Pearson Perry at http://pearsonperrymu 

sic.com or at pearsonper rypeople@gmail.com. 

Detroit Rubber is a weekly reality series 

co-produced by Eminem about the owners of 

Burn Rubber, a Detroit-based sneaker shop. 

The program follows Rick Williams and Roland 

“Ro” Coit as they hustle to help their business 

survive in the sluggish Michigan economy. 

The shop has also become a haven for young 

hip-hop talent, many of whom will be in the 

series. Contact Michael Moses at mmoses@ 

bwr-la.com. 

Rikki Rockett, longtime drummer of Poison, 

is shopping a new reality show, American 

Drums. For nearly a decade, Rockett has been 

building custom kits for clients ranging from 

modern day legends-of-rock, to future rockersin-training. 

He and his misfit staffers at Rocket 

Drum Works are the only drum-kit makers who 

can boast 100 percent American made product. 

Contact Laurie Gorman at 310-550-5256 or 

laurie3g@aol.com for more details. 

Rikki Rockett 

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

experience as an artist, producer and performer, Tom Kidd has 

promoted, marketed and developed Emmy- and Oscar-winning 

composers. He is President of Pres Pak Public Relations. 

—TOM KIDD prespak1@verizon.net 

Out Take 

Clint Mansell 

Film Composer 

EMAIL: c/o geo@terrorbird.com 

WEB: http://clintmansell.com 

MOST RECENT: Stoker 

For composer Clint Mansell, there’s 

nothing quite so exciting as a live performance. 

The Grammy- and Golden 

Globe-nominated composer will perform 

a selection of pieces from his now extensive 

repertoire at The Orpheum Theatre 

in Los Angeles, CA on April 6th. This 

should surprise no fan who remembers 

either Mansell’s work as guitarist and 

lead singer for Pop Will Eat Itself, or who 

has experienced his live performances 

drawn from other scores previous to the 

current Stoker: Original Motion Picture 

Soundtrack. 

“There’s nothing better than hearing 

music at a proper volume,” Mansell says 

of his concerts. The Orpheum concert, 

where the composer will be accompanied 

by an eight-piece band incorporating 

the Sonos Quartet, will draw from 

Mansell’s history of film scores, though 

keeping the emphasis on what fans 

will hear on Milan Records’ new Stoker 

release. 

“When it comes to doing live arrangements, 

it is a continuation of what we’ve 

done for the film,” Mansell points out. 

As any filmgoer knows, this is essential 

because in a film the score comes sporadically, 

usually in small bites. “We’ve 

re-worked the score so it has a flow to 

it while trying to maintain the feel of the 

film. When doing the arrangements, you 

want the best moments.” 

Though he is much in demand as a 

composer, Mansell plans to continue to 

bring his music to live venues, despite 

the time and finances such an endeavor 

entails. Currently, his schedule calls for 

approximately three to four shows per 

year, though Mansell feels he's plenty 

ready for more. 

“It depends on the demand,” he admits. 

“But I really love doing it.” 

Mansell’s next scores include Filth 

and Noah, a reunion with director Darren 

Aronofsky. 


MIXED SIGNING NOTES STORIES 

MUSE PERFORM GRAMMY NOMINATED TUNES AT STAPLES 

British power-trio Muse recently played to a packed Staples Center in Los Angeles, CA. 

Implementing crowd favorites as well as tracks from their 2013 Grammy nominated album 

2nd Law, which received an 8 out of 10 in Music Connection, the band showcased incendiary 

licks, thick bass lines and punchy percussion hardly found in today’s Grammy scene. 

CRYSTAL METHOD GO BEYOND IN MANHATTAN: 

The Crystal Method's Scott Kirkland (right) and Ken Jordan perform 

with Casio's XW-P1 Performance Synthesizer at the Beyond Sound 

Launch party in New York. Among reecnt accolades, Casio's XW-P1 

was a recent recipient of Electronic Musician's "2013 Editors' Choice 

Award for Affordable Synth Awesomeness." 

JOHNNY NUNOZ WIREIMAGE 

JAMES DONNELLY 

HIP-HOP AND NFL COLLIDE FOR SUPERBOWL 

Rapper Wale and New York Giants receiver Victor Cruz attended the Jay-Z & 

D'USSE Super Bowl Party at The Republic in New Orleans, LA. Other guests 

included Adrian Peterson, Bob Johnson, Will Clay, Justin Tuck, Braylon 

Edwards, Keyshawn Johnson, Sway, Trent Richardson and DJ Clue among 

others. The party was hosted by D’USSE® Cognac, Jay-Z’s preferred cognac. 

Pictured (l-r): Wale and Cruz. 

TEC AWARDS HONORS: TOWNSHEND, 

ROSE MANN CHERNEY 

The Les Paul Award was created in 1991 to 

honor individuals or institutions that have 

set the highest standards of excellence in the 

creative application of recording technology. 

The 2013 Les Paul Award recipient, Pete 

Townshend, has enjoyed one of the most 

intriguing, respected and multifaceted careers 

of any artist in the rock & roll era. The TEC 

Awards honored Rose Mann Cherney, with 

The Hall Of Fame Award. Cherney was the first 

female president of a major recording studio 

as well as the first woman to be inducted to the 

TEC Awards Hall of Fame. She is still active in 

the industry as a principal with the renowned 

Record Plant Studios in Los Angeles, CA. 

Get a full wrap-up of the 2013 TEC Awards at 

http://tecfoundation.com. 

(l-r): Ocean Way Studios owner Alan Sides, engineer 

Lenise Bent, engineer Leslie Ann Jones and SAE 

Director of Operations Bridget Gardner. 

Ron Fair and Slash presenting the Hall of Fame 

award to Rose Mann Cherney. 


MIXED SIGNING NOTES STORIES 

—ANDY MESECHER andym@musicconnection.com 

ALEX KLUFT 

MC NEW MUSIC 

CRITIQUE SEEN AT 

NOKIA CENTER 

Singer, songwriter and 

Lenny Kravitz drummer 

Franklin Vanderbilt was 

seen rockin’ at the 2013 

Guitar Center Drum Off 

Finals recently. The event 

was held at the Nokia 

Center in Los Angeles 

with KROQ CaboWabo 

local band finalists. 

Pictured (l-r): Vanderbilt 

alongside Ryan Dufford 

and Jordan Morris of 

Halfwayband. See MC’s 

critique of Vanderbilt’s 

newest demo in the 

January 2013 issue. 

Celebrating 

36 Years 

1977–2013 

Tidbits From Our 

Tattered Past 

CHRIS KENNEDY 

SPINNING IN VEGAS 

Hard Rock Hotel & Casino 

hosted a weekend of 

parties in Body English 

Nightclub & Afterhours 

with DJs Chris Kennedy 

(pictured), Peanut Butter 

Wolf and more. The 

actor and artist made his 

second appearance at 

the club on Feb. 1st. For 

upcoming events, see 

http://hardrockhotel.com. 

DANIEL SIWEK 

STEEL PANTHER, 

*NSYNC; A RARE 

COLLABORATION 

Tap of glam metal—fans 

aren't limited to young ladies 

eager to show their boobs. 

Birthday boy Joey Fatone (of 

*NSYNC /Dancing with the 

Stars) got up on stage for 

a sing-along to Bon Jovi's 

"Livin' on a Prayer" at the 

House of Blues on Sunset 

Strip—or as Steel Panther 

call it, "House of Boobs.” 

CARLOS LARIOS 

1986—David Lee Roth—Is. #1 

Music Connection’s cover story 

on the ex-Van Halen frontman 

found him promoting his first 

full-length solo album, Eat 'Em 

And Smile, with his band of 

virtuosos including Steve Vai and 

Billy Sheehan. Quipped Roth of 

his new band setup, "I can get 

along with anybody as long as 

everyone shows up. We're gonna 

make the music and then go on 

tour forever––that's the program." 

Elsewhere in the issue, we profiled 

L.L. Cool J, Charlie Sexton 

and we picked the brains of 

major label A&R execs including 

Ron Oberman, Wayne Edwards 

and John Guarnieri. 

1993—Redd Kross—Is. #24 

(l-r): Producer-engineer Ross Hogarth, producerdrummer 

Russ Kunkel, producer-engineer Nate 

Kunkel and Focusrite president Phil Wagner. 

Record Plant founder Chris Stone, producer Mike Clink 

and Grammy P&E wing Senior Director Maureen Droney. 

The inherently indie Redd Kross, 

who'd released music on as 

many as 30 different labels, were 

hoping to break through to the 

mainstream with their album 

Phaseshifter when MC made 

them its cover boys. "I credit indie 

labels for giving us our start," 

said Jeff McDonald. "But some 

were very shady and worse than 

anyone we've ever met at a 

major label." MC's club reviews 

spotlighted the band Possum 

Dixon, among others, and the 

concert reviews area featured 

shows by Robert Plant, Lenny 

Kravitz and Smashing Pumpkins. 


!"#$$ 

%&# 

BY DAN KIMPEL 

AS THE WORD “CONCORD” SIGNIFIES “HARMONY,” 

it is appropriate that the two best-known residents of the town of Concord, NC, are Scott and Seth Avett, namesakes 

of the band the Avett Brothers. Since 2000, the brothers, along with their honorary “third brother” bassist Bob Crawford 

and touring and recording member cellist Joe Kwon, have built a steady, grassroots audience for the band’s roughhewn 

harmonies and emotionally driven lyricism as revealed on their indie releases for Ramseur Records, an NCbased 

label. Named the Americana Music Association’s Group of the Year in 2007, their presence was elevated significantly 

when the Avetts entered into partnership a year later with producer Rick Rubin and signed to his label, American 

Recordings. At the 2011 Grammy Awards, the Avett Brothers performed “Head Full of Doubt/Road Full of Promise” on 

the telecast, and joined Mumford & Sons to back Bob Dylan on a spirited romp through the bard’s “Maggie’s Farm.” 

Fast forward to the present: again produced by Rubin, the band’s latest release, The Carpenter, on American Recordings/Republic 

Records, debuted in 2012 at No. 4 on the Billboard 200, and the band was nominated for a Grammy 

for Best Americana Album. The close-knit group was dealt a devastating blow in 2012 when Bob Crawford’s infant 

daughter, Hallie, was diagnosed with a brain tumor. But as Scott Avett reveals, signs are now positive. In this exclusive 

interview for MC, he exudes a genteel warmth that bespeaks his small town Southern origins. 


MC: Is being the eldest brother, a part of 

your dynamic? 

Avett: I work real hard to try and identify when 

Seth is in the lead role and it’s appropriate and 

needed and better for the group––delegating, 

stepping out of the way and knowing when it’s 

time. I think that’s important for older brothers, 

because they tend to want to keep control and 

power and that’s just garbage––a stigma. 

MC: Since 2008 Rick Rubin has been producing 

you. Exactly what does he do? 

Avett: (Laughs) What I gather is that he does 

something different for everyone he works with, 

because not everyone jives, or cooperates and 

agrees with what he does. Cooperate is a bad 

word, because with us he’s never gone for us 

cooperating with anything—he’s been a facilitator. 

I think he listens and trusts us to be what 

we really are. He helped us slow down in the 

way that we were not allowing ourselves to do. 

%&'$(#&) 

Music Connection: “Americana” is somewhat 

of a catch-all definition, but it seems to traditional mode. 

sang your songs, they really fit well into the 

embody the Avett Brothers sound. 

Scott Avett: It’s one of those words that surfaces 

out of the confusion of “How do we label 

this diverse group of music that has an acoustic 

guitar and other acoustic instruments?” I like 

the word Americana; I think there is a sound 

and soul to American music that is some kind of 

country rock alternative something or other. 

MC: Even with acoustic instruments––you 

on banjo and Seth on acoustic guitar––it 

is evident that the Avett Brothers can rock 

out. Certainly your country roots are a huge 

linchpin as well. 

Avett: That’s what we were raised on. We 

come from a country music background and 

environment. If you got a job in the summer it 

was framing houses, and what played as you 

worked was 103.7, the country station, and it 

played non-stop. So through the ‘90s I knew 

all of the country songs better than I wanted 

to know them. We were always going against 

that genre, trying to find out what was in the 

punk rock, hardcore and hard rock realms. 

And grunge, that was a huge inspiration for my 

brother and me. 

MC: We watched the CMT Crossroads show 

where you collaborated with Randy Travis, 

certainly a bedrock country artist. When he 

Avett: I’m with that and it’s good to hear it. I 

hope that good songs will interchange. A lot of 

great country songs in that format would probably 

transfer to R&B or rock songs. 

MC: If we look at the history of bands of 

brothers—Black Crowes, Kings of Leon and 

Oasis prominent among them––there is so 

much acrimony and turbulence that can exist 

in the band context between siblings. 

Avett: I think those turbulent moments are in 

bands without brothers as well. When it is brothers, 

it’s easy to emphasize, as in the cases 

of the Louvin or Everly Brothers. If you read 

Charlie Louvin’s book or think about how long 

the Everly Brothers went without talking to each 

other, it breaks your heart. 

MC: Why is this? How have you and Scott 

avoided the syndrome? 

Avett: My brother and my differences go way 

back. If you meet a guy and start playing in a 

band with him when you’re 16 or 17, your relationship 

begins there. Our relationship started 

when I was four years old and all of our differences 

have been growing deeply since then, so 

they’re probably a little more volatile because 

there’s a lot of passion in those differences that 

might not be in people who have not known 

each other as long. 

MC: Such as? 

Avett: Before we were working with any major 

labels we had bestowed all of these deadlines 

upon ourselves––little deadlines to life and 

career oriented goals––that I think were causing 

problems and hindering the arc. Rick was able 

to put a bubble around us and say, “Make the 

arc and then present it, but don’t represent it 

until it’s great.” Nothing goes out the door until 

it’s ready. We know that. He’s like a fourth partner: 

Seth, Bob, Rick and I are four guys who 

are quality control, making sure that whatever 

we make together is the best it can be not 

based on deadlines, budgets or trends. Before, 

Seth and I weren’t identifying that. 

MC: In what ways might he assist in this 

communication? 

Avett: Rick can also be a mediator for Seth and 

me––if we need a third and we disagree, and 

we need to be told by somebody other than a 

brother. I respect Rick’s work so much. And the 

beauty is that he’s become a friend. You can’t 

anticipate or expect that, working with people 

in the business you have to keep it businessoriented. 

Maybe keep them from becoming 

friends. With Rick it’s been really natural. With 

pieces of the conversation that aren’t fun, 

fulfilling or rich, we don’t take time for them. We 

spend time on the good things. 

MC: Is there a specific emotional environment 

that Rick constructs? 

Avett: On the first album he created a challenge, 

someone to perform for, an audience. 

We were having a new relationship, so we 

challenged and pushed ourselves. I was determined 

to play drums, and I played from eight 

hours one day, and that was only on two songs. 

That’s not out of the ordinary, but we only used 

the track on one. 

MC: Each of your albums with Rick has 

shown a marked progression? 

Avett: With every recording and every good art 

there has got to be some evidence of exploration 

or something discovered. And when you 

have a new audience that’s an opportunity to 

discover something within yourself. You are 

performing especially for that audience. That 

happens every night as well, but here is somebody 

who has produced Red Hot Chili Peppers’ 

Blood. Sugar, Sex, Magik, that made us react 

and perform a certain way. 

MC: So you won’t reveal strange stories 

of burning sage, quivering crystals and 

chanting? 


Avett: All of the enchantment and this mystical 

vibe and “here’s this legend” were out the window, 

because we were men on the same level 

working for something great. Mysticism is such 

a fabricated and abstract thing; it’s way more 

about admiration and respect. 

MC: Speaking of the Peppers, drummer 

Chad Smith plays on tracks on The Carpenter. 

It’s always interesting to see a rock 

drummer who is that versatile, isn’t it? 

Avett: A great studio drummer can pull off any 

style. Chad is not tied to any specific genre; that 

is obvious in what he listens to and his character. 

Aside from being an amazing performer in 

a terrific band––and the energy he plays with 

onstage––he’s a terrific studio drummer. It’s an 

energy I understand and grew up with and try 

to bring to the stage. Seeing that energy from 

someone who has done it 20 years longer than 

you have and vibing with it––it’s really uplifting 

and inspiring––it will make you get down! 

MC: What was it like to play with Dylan? 

Avett: It was surreal, amazing and a dream 

come true. And it was a surprising endeavor that 

when we met for rehearsals out there––maybe 

organic endeavor for me. I don’t have sit-down 

writing sessions; I would be more productive if 

I did, but I don’t know if I would be writing great 

songs. I wait, and if they’re great they stick. 

MC: Is there a specific physical space where 

you are more productive? 

Avett: I allow for the natural time to be at the 

piano, and I have about five different stations 

that have notebooks and recording devices all 

over my house, my studio and my vehicle. I try 

to integrate songwriting into life. 

MC: So does it then become a part of a 

larger tapestry? 

Avett: I was watching a documentary last night 

about the designers Charles and Ray Eames, 

and it was saying “Life, work, love, work,” putting 

it all together: family, life, the things that come 

with work and integrating it into one big ball. I 

hope to continue that process. It’s part of the fabric 

of who I am, and there is no line between the 

Scott who is writing the song and the Scott who 

is cleaning up the garbage in the front yard that 

the dog spread, or is putting the kid to bed, and 

going out to have beers with a friend who just 

found out his wife is pregnant. All of those things 

Avett: You can only make what you can naturally 

make; that which is in you. And there’s probably 

songs that could be on the lighter side 

and we tried balancing it with sequencing, but 

once it was said and done it was what it was, 

our expression as a whole. Consciously or 

subconsciously, it was our representation of 

the past couple of years. Maybe it seemed a 

little heavier, especially when we saw people 

writing about it. It all happened before Hallie 

got sick, so presenting it made it seem like 

even more of a coincidence. 

MC: “Paul Newman vs The Demon” reflects 

your rock roots, and in the context of the 

more acoustic-driven sounds, seems like 

somewhat of a departure on the record. 

Avett: Seth brought it to the table. It started 

as more of a Spanish acoustic thing, and 

he wanted it to be more straight-up, hard, 

crunchy electric guitars and distortion. That 

song is a door that has been opened, because 

we learned what we’d like to do better 

and go further. Faster, louder and harder is 

certainly in our makeup, or slower and harder 

and more abrasive, maybe even something 

sludgy. 

(l-r): Seth Avett, Scott Avett, Bob Crawford, Joe Kwon 

Quick Facts 

The Avett Brothers as we now know them had their origins in Seth 

Avett’s high school band, Margo, and Scott’s college group, Nemo. 

A DIY ethic drove the band’s earliest endeavors as they recorded indie 

projects and self-booked their tours. 

With their 2009 release of I and Love and You, the band became 

late-night TV mainstays, appearing on shows hosted by David Letterman, 

Jimmy Fallon and Craig Ferguson. 

Scott Avett is an accomplished visual artist influenced by the Italian painter 

Caravaggio; a Norwegian artist, Odd Nerdrum; and North Carolina printmaker 

Michael Ehlbeck, who he deems “The Rick Rubin to my visuals.” 

The Avetts’ father, Jim, a welder by trade, has released two albums 

under Ramseur Records, the same Concord-based label that released the 

Avett Brothers’ music. The group signed with Rick Rubin’s label in 2008. 

Anaheim—it was amazing how quick it went into 

work mode. “Okay, Bob Dylan is here,” then it 

switched to we were playing chords, finding keys, 

seeing what worked and talking to each other. 

Asking Dylan, “Do you like this seventh chord 

thing?” And he’d say “Nice,” or “Keep it straight.” 

In the end Dylan loves to play and so do we. 

MC: As SESAC songwriters, you and Mumford 

& Sons and Dylan all share a common 

performing rights organization. How did you 

choose SESAC as your PRO home? 

Avett: We know them. They were a small 

company when we were a smaller company. 

We didn’t have anyone else coming to the table. 

Alongside our other early business connects 

they were very enthusiastic, and very out there 

for us, very cool and always willing to facilitate 

and accommodate what we needed––to answer 

questions. It was later that the other companies 

came to us. We’re proud to work with them, and 

we’ve maintained a relatively personal relationship 

that is interesting in the business. Nashville 

is a small town with a lot of big fish––SESAC 

maintains that. 

MC: Has the process of songwriting 

changed for you? 

Avett: It has changed and it continues to 

change. It doesn’t reach a stopping point. If it 

wasn’t changing I would be concerned. The 

biggest change––and what is hard to go back 

to––as life has gotten fuller with more family 

responsibilities, writing has become a more 

coming together are part of the songwriting, the 

art-making process and a very colorful life. 

MC: We are aware of the medical challenges 

that Bob Crawford’s two-year old daughter, 

Hallie, has been confronting in her struggle 

with brain cancer. How is her progress? 

Avett: It’s an ongoing thing. They are preparing 

to go to Memphis for their third scan since 

they stopped chemotherapy. She will be 

monitored for years to come. It’s one day at a 

time, and that’s led us to our realization that 

it’s all so fleeting, and we cherish that time 

together in the studio, rehearsal and especially 

on stage more than we’ve ever done. Because 

we were gifted this glimpse into how fragile it 

all is in a terrifying way. 

MC: It is interesting that you reference it 

as a gift. 

Avett: That’s taken time. If you think in spiritual 

terms and you search for something positive in 

such a challenging thing. Bob’s challenges are 

10-fold. I don’t have the same kind of challenges; 

his duties are unreal, and he’s a real 

champion. But the word “gift?” I wouldn’t put it 

past him. The awareness that’s come with this 

and his presence is huge. 

MC: The overall theme of The Carpenter 

seems to illustrate this fragility of life and 

the inevitably of its passing. Was that present 

in the original concept for the record, or 

did it emerge through the songwriting? 

MC: You are prepping to tour Europe. How 

do those folks appreciate the Americana? 

Avett: The audiences are fun. We went one 

time in 2007 when six of us rented a van on a 

very small tour. Since then there has been a lot 

of growth and it’s very exciting. It’s like rewinding 

here in the US three or four years ago, we 

play for 1,000 people and many more at festivals. 

One to three thousand is a great number 

because we can get intimate. 

MC: Let’s talk Grammys. Even though you 

were nominated, you were performing elsewhere 

the week of the Grammy Awards. 

Avett: Two shows in Madison, WI and Ann Arbor, 

MI, so we were booked. It was a tough call 

for us to not to be there. We tried really hard, 

but we realized we couldn’t change the dates 

and we didn’t know or expect the nomination, 

so we had three nights of crowds expecting us 

in the Midwest. 

MC: There is a wonderful line from the song 

“The One and Future Carpenter.” It says, 

“We’re all in this together.” It seems to 

neatly encapsulate the Avett Brothers and 

your bond within the band, and certainly 

with your audience. 

Avett: We’re all under the same sun here. 

Confusion is beauty and we’re looking for it 

and it certainly is at the root of a lot of songs. 

Contact kimberly.harris@umusic.com 



!!!!!"#!$%! 

&#'()*+, 

!"#"$%!%#& 

THE ROLE OF A MANAGER has changed as much as the music 

business. In fact, the traditional artist team (manager, attorney, agent, business 

manager) may no longer be practical. Today many artists believe that self-management 

and outsourcing functions is the way to go, especially in this DIY era. As a result, 

more acts are learning to manage themselves and doing surprisingly well. Music 

Connection wanted to explore this development, so we contacted several DIY acts 

and a veteran manger to find out what it takes to manage yourself successfully. 

'()'%*#"*+)'",* 


RIDDLE THE SPHINX 

Burgundy Morgan 

(burgundymorgan@aol.com) 

http://riddlethesphinx.com 

RIDDLE THE SPHINX are a group of seasoned 

and formally trained musicians, inspired by 

a combination of world and classical music. 

They have always managed themselves, and 

gotten some pretty impressive results, including 

multiple awards and Grammy nominations. 

In fact, the press has called them “one of the 

most unique bands in Los Angeles.” The act’s 

members are also humanitarians, aligning 

themselves with organizations such as Project 

Peace on Earth, and the non-profit organization 

HeARTS Giving Hope. 

WHY DO YOU MANAGE YOURSELF 

It’s the way we’re structured. We never really 

had a need for management. Part of the reason 

is that we have a couple professionals (attorneys) 

in the band who can handle most of the 

work. Also, we’ve set up a “Finder’s Fee” 

arrangement in our band 

agreement. It gives anyone, 

including band members 

would give us an advantage. But the reality is 

it’s often a whole lot of unpaid work. So, if we’re 

unable to do something because we’re busy, 

we’ll just pool our money and hire someone to 

help us for $8 to $10 an hour. 

ISN’T HIRING OUTSIDE HELP 

PROHIBITIVE 

Somebody needs to take care of business, and 

if you can’t do it––for any reason––get help. 

The fact is many artists will spend more on their 

bar tab than it costs to hire someone. If you’re 

serious about it, you’ll either find the money 

when you need it, or recruit someone to help. 

WHAT’S THE KEY TO SELF 

MANAGEMENT 

Being organized and knowing something about 

the business is important, but I think the right 

attitude is critical. You can learn to do anything 

for free on the Internet. But, you should make 

it “fun.” If you’re not happy doing it, do it differently. 

WOULD YOU EVER CONSIDER 

HIRING A MANAGER 

I doubt it. We don’t 

need handholding 

ADVICE FOR OTHER ARTISTS 

When you start out, be prepared to manage 

yourself, because no one else is going to do 

it for you until you start producing income. 

Embrace technology. There are so many tools 

now, anyone can self-manage as long as 

they’re willing to devote the time. If you’re in 

a group, use Google Docs to communicate, 

have a band meeting once a week, and make 

sure you know who the point person is on any 

project. Most of all––have fun… and remember, 

it’s about the music. 

ERIC SLATER 

(ericslatermusic@gmail.com) 

http://ericslater.com 

ERIC SLATER has been managing himself for 

the past two years. He’s had a successful career 

as a recording artist for two labels and has 

toured on more than one continent. This artist 

has also had several managers, but decided to 

manage himself in order to have control over 

his music and career. Slater found that, sometimes, 

managers had a different vision than his 

own and, ultimately, he was not comfortable 

following their approach. 

or outsiders, 20 percent of all revenue generated 

if they bring in a project that produces 

income. We found that is a strong incentive to 

make things work. 

WHO HANDLES DAY-TO-DAY 

OPERATIONS 

We divide most functions equally, with each 

person covering a specific area. You would 

think that having professionals in the group 

and what we can’t 

do, we outsource. 

But if a manager had 

some ideas on how to 

increase our revenue, 

we’d certainly listen. 

HOW DO YOU 

GENERATE IN- 

COME 

I’m a big believer in 

mailbox income. I’d 

rather pick up a check than play a live gig. As 

you get older and have more responsibilities, 

touring and gigging become less attractive. So 

you focus more on publishing income and new 

technology. For example, we just streamed a 

live show online and made more money than 

we do playing most venues. The beauty of it 

was we didn’t have to drive anywhere, unload 

gear and find a place to park. We just had to set 

up a video camera and broadcast it. 

WHY DO YOU MANAGE YOURSELF 

I’ve had managers from my teens through 

my twenties, and it was sort of like having an 

enabling parent. They did everything and I gave 

them the power to do so. Eventually, I realized 

I wanted to do things my way and, even more 

importantly, I wanted to take the power back. 

IS THERE A SPECIFIC PROBLEM 

WITH MANAGERS 

I wouldn’t call it a problem; it was just a different 

approach. Most managers want to shoot for 

the top because that’s where the money is. 

They want to hit a home run by making you a 

mainstream commercial success. And I bought 

into that for quite a while. But, I discovered that 

having a manager did not make people care 

about me or my music. In fact, sometimes a 

manager would strike such a hard deal that it 

would kill an opportunity and reflect poorly on 

me. And, you know, opportunities are hard to 

come by today. 


WHAT SKILLS DO YOU NEED TO 

MANAGE YOURSELF 

You need to believe in yourself and have an 

understanding of the business. I watched my 

managers and saw what worked and what 

didn’t. I became aware of how the business 

operates and who the players are. That sort 

of experience is invaluable. But, managing yourself 

is not easy. You need a sense of direction 

and a clear vision of what you want and how 

you’re going to get it. 

THE MOST DIFFICULT PART OF 

SELF-MANAGEMENT 

It can be frustrating because of the time it 

requires. You can spend so much time with 

marketing, promotions, PR and everything else 

that you have very little time left for your art. In 

fact, if you did everything conventional wisdom 

tells you to do, you’d never have time to write a 

song or play a show. Because of that, you have 

to prioritize and focus on specific goals and timelines. 

You need to decide what’s really important. 

I found that you can’t do everything you want to 

do, but you can do things that get results. 

MARINA V 

(marina@marinav.com) 

http://marinav.com 

MARINA V is a totally self-sufficient DIY queen 

who has managed herself for the past four years. 

She is so effective at self-management, she 

probably scares off most managers. Her fans 

have financed all of her recordings and have 

helped her build an international touring career, 

with shows in the US, Russia, London, Portugal 

and Washington D.C. A multi-award winner, 

she’s appeared on network television and placed 

songs on popular TV shows, including a Pepsi 

campaign. 

HAVE YOU EVER 

HAD A MANAGER 

I’ve had one official 

manager and a few 

unofficial managers. 

David Krebs (Aerosmith, 

Ted Nugent, AC/ 

DC, Trans Siberian 

Orchestra, et al) was 

and expertise. But, finding a good manager is 

a lot like dating. I would only consider that type 

of relationship with someone who is passionate 

about my music, and is willing to work as hard 

as I do. 

WHAT SKILLS DO YOU NEED TO MAN- 

AGE YOURSELF 

You have to be smart and organized, and need 

to know something about the business. Having 

a strategy and a plan is very important. Strategizing 

is probably the hardest part. Sometimes 

it’s hard to be objective about what you’re 

doing. But, you have to be honest with yourself 

and decide what’s best for your career. 

THE KEY TO DIY MANAGEMENT 

For me it’s networking and absorbing knowledge 

and experience along the way. I like to 

keep aware of what’s happening in the business. 

I’ll ask questions of every industry pro I 

meet. I want to know how they think and what 

projects they’re working on. I try to figure out a 

way I can help them. If you’re managing yourself, 

you’re always on the move and always on 

the hustle. 

WOULD YOU EVER CONSIDER WORK- 

ING WITH A MANAGER 

I might consider co-management if it’s the right 

person. Recently, several potential managers 

have courted me. But I require a lot more 

from them than I used to. I want a manager 

who values my artistic integrity and has the 

right vision for my career. I want someone 

who understands me, my music and my influences. 

I don’t want someone who just wants to 

exploit me. I’d rather work with someone who 

respects what I do and how I do it. 

my official manager 

for several years. He 

was very helpful and 

I learned a lot from 

him. After we parted 

ways I found that 

many people called 

themselves managers, 

but that didn’t 

mean they could do 

the job. That’s why 

I’ve had unofficial managers for trial periods. I 

wanted to see if they could work with me. Eventually, 

I discovered that I could accomplish a lot 

more on my own. 

BEST PART OF SELF-MANAGEMENT 

I enjoy being my own boss. It’s fun and creative 

because there’s really no right or wrong 

way to do things. Whatever works is what you 

go with. I’ve been doing it for so long now, I 

don’t want to ever give up total control. I like 

the freedom self-management gives you. I look 

at acts like Madonna, Lady Gaga and Paul 

McCartney (as a solo act). They’ve all had a 

personal impact on their careers. They didn’t 

just rely on someone else for their success. 

They made it happen. 

WOULD YOU EVER CONSIDER WORK- 

ING WITH A MANAGER 

I might consider co-management. But, a 

manager would have to bring a lot to the table. 

I would need someone with more connections 

YOUR FAN ENGAGEMENT IS AMAZ- 

ING––WHAT’S YOUR SECRET 

I love crowd sourcing. My fans are my priority. I 

ask them for their opinions and always answer 

their questions. I make them feel like their part 

of a team, because they are. If a fan asks me 

to play somewhere, I ask them to help me book 

a show. If they do that, I’ll give them a house 

concert. That has gotten me more bookings 

than just about anything else. 

DO ARTISTS NEED A MANAGER 

When you have so much going on that it’s difficult 

to handle, it’s nice to have help. But, that 

doesn’t necessarily mean you need a full time 

manager. Sometimes just outsourcing a function 

will get the job done. For example, I have 

friends/fans help with my website and booking 

shows. In fact, at this point in my career, I think 

a booking agent would be more helpful than a 

manager. I’d love to go on a national tour. 

VINYL SOUL 

Nambo Enrique 

(beatween@hotmail.com) 

http://vinylsoulmusic.com 

VINYL SOUL are the ultimate DIY duo. Comprised 

of Nambo Enrique and Jay Hurtado, they 

utilize a revolving cast of musicians for band 

dates. Totally self-contained, they write together, 

produce their own recordings and busk 

on the streets for extra income. They’ve toured 


California and Mexico, and spent six months touring 

Japan. Their unique fusion of hip-hop Latin soul 

got them a nomination as “Best Breakout Band” by 

MTV’s Tr3s, and gave them the opportunity to open 

for several Grammy winners––all while managing 

themselves. 

WHY DO YOU MANAGE YOURSELVES 

We really had no choice. When we started 

there was no other option. No one stepped up, so 

we did it ourselves. We’ve had unofficial managers 

who specialized in certain areas, but never had a 

full time manager. Over time, we not only learned 

how to do it, we learned to like it. It gives you a 

sense of power and accomplishment that you can’t 

get any other way. 

HOW MUCH TIME DO YOU DEVOTE TO 

MANAGEMENT 

I give 150 percent every day. If there were more 

hours in a day, I would do even more. The fact is 

no one cares as much about your career as you 

do. So, if you don’t invest the time why should 

anybody else? 

YOU BUSK ON THE STREETS––IS THAT 

PART OF YOUR PLAN 

Playing the streets is a great experience. Every 

artist should try it. It’s the best gig you can do. You 

really find out how strong your material and performance 

chops are because you have to get people’s 

attention. You have to get them to stop, listen and, 

hopefully, buy something. We try to do it at least 

once or twice a week. We’ve built a nice fan base 

that way and sold quite a bit of product. In Japan 

we played the streets so often we were arrested for 

disturbing the peace. But that got us media attention 

and paying gigs. 

OTHER WAYS TO GENERATE INCOME 

I’m a producer and songwriter for other artists too. 

I’ve worked with Universal Records, some well 

known acts and a few up-and-coming artists. My 

company, btwn musik, does original material in 

various genres, remixes, and just about everything 

but mastering. Song placements are also important 

to us, and we’re starting to focus more on that area. 

THE KEY TO SUCCESSFUL 

SELF-MANAGEMENT 

Learning the biz is very important, and networking 

is essential. I go to conferences and industry functions 

to meet people and learn everything I can. 

You have to love the business as much as your art 

if you want to be successful. 

DO YOU SEEK OUT ADVICE 

We’re open to what people have to say. But, you 

need to be true to your vision. Many times advisors 

(i.e. potential managers) have their own agenda that 

may or may not suit you. In fact, the entertainment 

industry in general, especially those associated 

with popular culture, has its own perspective. For 

example, we were asked to audition for America’s 

Got Talent by the show’s producer. We did one of 

our songs and they asked us to play “La Bamba.” 

It was such a cliché, it was sort or funny. But, that’s 

not what we do, so we didn’t do the show. 

WOULD YOU EVER CONSIDER 

A MANAGER 

It really depends. If they had something to offer that 

we couldn’t do ourselves we might consider it. I mean 

it’s cool to have a manager who has great connections, 

but it’s not really necessary if you can do it yourself. 

And, any manager would have to let us be who 

we are. That seems to be the biggest problem. Often 

they want you to be true to “their” vision, not yours. 

MORAL COMPASS MANAGEMENT 

Karl Louis 

(moralcompassmgmt@gmail.com) 

http://moralcompassmgmt.wordpress.com/about 

A veteran manager who formed Moral Compass Management over a decade ago, Karl 

Louis developed his skills at Warren Entner Management and Lindy Goetz Management, 

and has also worked on the label side as A&R for Flip Records, A&R for Victory Records 

and in the promotions department at the world famous rock station, KROQ. Over the years 

Louis has been involved with a prestigious list of acts including Limp Bizkit, Rage Against 

the Machine, Deftones, Red Hot Chili Peppers, Collective Soul, Creed, Sevendust, Matchbox 

Twenty, David Bowie, Paul Rodgers and Bubba Sparxxx. 

HAS YOUR APPROACH TO MANAGEMENT CHANGED 

In the past most managers, including myself, would either manage an artist full on, or not at 

all. Nowadays, however, the landscape has changed. New tools and technology have made 

things a lot more interesting. But, they’ve also created more work for everyone. Because of 

that, I’m more likely to co-manage an act 

and handle part of their career rather than 

their whole career, or simply consult with 

them on an as needed basis. 

HAVE MANAGEMENT FUNCTIONS 

CHANGED 

They have, and it has made the job much 

harder. A manager today has to know 

something about everything. In fact, most 

managers function like a label. It’s not just 

about giving artists advice and guidance 

anymore. Today, managers have to assemble 

a team that will expand an act’s 

reach and create a sustainable model. 

THE MOST IMPORTANT TEAM 

MEMBERS 

You need a balanced team today. There 

was a time when a manager was all you 

needed and A&R execs were kings. Now, 

the most important players are a manager, 

a booking agent and a song placement 

specialist. You can build a career with 

those team members. 

WHAT MAKES A SUCCESSFUL DIY 

ARTIST 

A successful DIY artist knows who they are 

musically and artistically. They also know who their fans are and who comprises their community, 

or tribe. They’re usually business savvy and are driven to succeed. They’re creative, 

obsessive and work every day on their career as if their life depends on it––because it does. 

ARE MANAGERS ATTRACTED TO DIY ACTS 

I am; they inspire me. Some old-school managers are threatened, though, because it presents 

a challenge to their authority. But, self-management is part of the new landscape. Most 

modern managers would welcome an artist who is a real team player, especially one who 

takes an active part in their own career. 

WHAT TYPE OF MANAGER WORKS BEST WITH A DIY ACT 

The best management for a DIY artist is not always the biggest company. You need someone 

who is passionate about the artist and their music. You need a visionary who understands 

that the business has changed significantly. You need someone who will help the 

artist realize their vision and develop their career in creative ways. 

BEST BUSINESS ARRANGEMENT FOR A DIY ACT 

DIY acts might want to consider joint ventures between a manager and a label. It’s more 

of an equal partnership. And artists who have achieved success on their own have greater 

leverage in negotiations. That way you get to have more control over your career and you 

don’t have to rely on someone else for everything. 

ADVICE FOR ARTISTS WHO WANT TO SELF-MANAGE 

Do it. In the beginning, you really have no other choice. If you have real talent and a 

compelling work of art that gets results, you will attract people who want to work with you. 

In fact, I advise every artist to check out the concept of “1,000 True Fans.” Even a few 

hundred fans––if they’re true fans––can build a career and generate income. Artists who 

have the right stuff and are willing to work at it can make from $20,000 to $200,000 per 

year. And that should be the goal of every artist and manager––in other words, to create 

and maintain a sustainable career. 


INDUSTRY PROFILE 


BMI Unveils 

New Logo/Brand 

-SR. VP Offers 

Key Branding 

Advice 

Danny Clinch 

What do the Rolling Stones, McDonald’s 

and Nike all have in common? Other than 

worldwide recognition, they also posses 

iconic logos. Broadcast 

Music Inc. (BMI)—one of the 

three major performing rights 

organizations—understands 

the importance of that branding, 

and has decided to begin a 

new campaign designed to 

express the concept of value 

for songwriters and music 

publishers. As Richard Conlon, 

Senior Vice President of BMI, 

explains, “BMI has repositioned 

itself in the marketplace on an 

ongoing basis [in the last 75 years] and 

we’ve had a number of campaigns over 

the years that have refocused us and the 

market on what we do. This campaign 

[expresses] what we’re up to [in the 

music industry] and how we’re building 

economies for music and for songwriters 

and music publishers with the rest of the 

world.” 

Along with a new logo, the campaign 

will include three new slogans: Write On; 

Powered By; and Valuing Music Since 

1939. The new visual identity will be used 

for marketing purposes. 

Conlon and company spent nearly 

18 months reaching out to development 

firms, focus groups and BMI songwriters to 

perfect the logo you now see here. “When 

we started working through this campaign, 

writers were talking about how we support 

their spark of creativity.” 

Continues Conlon, “We said, ‘let’s take 

the light that was shining on the stand on 

our very first logo and let’s shine the light 

outward and include the spark of creativity 

"Branding is evolutionary. You don't flick switches. It's an 

organic process that begins with ideas and corporate/band's 

DNA and then it's about how you execute it and get it out there. 

You need time to grow."— Richard Conlon, Sr. VP, BMI 

Conlon's Branding Advice To 

Musicians/Music Companies 

1) Reach down deep: You must understand your 

own DNA and re-establish and confirm who you 

are, what you’re about and what your values are. 

2) Know your audience: Who is your music/ 

company attracting? Who do you want to follow 

you? Re-assess your target audience and then 

profile them. 

3) Know your objective: Do you want to 

create a brand image for the top of the charts 

or would you rather be the best cover band in 

Bakersfield? Remain focused on your goals. 

4)Understand evolution: Never forget that 

branding is evolutionary. You don't flick 

switches. It's an organic process that begins 

with ideas and corporate/band's DNA and then 

it's about how you execute it and get it out there. 

You need time to grow. 

into our visual presentation of the company.” 

While some may argue that keeping a logo 

consistent is essential to branding, BMI’s Senior 

VP counters by explaining the 

importance of a positioning 

strategy. “[BMI’s previous logo] 

has been in market for about 

20 years,” he explains. “Our 

goal is to really help challenge 

perceptions about what 

performing rights organizations 

do. It’s really easy to have a 

business that’s been around for 

nearly 75 years get painted into 

a box, [with people thinking] 

‘oh well they only do this.’ One 

of our goals on the campaign is to point 

up capabilities and how we add value to 

markets.” 

BMI unveiled its new brand and logo 

at MIDEM (the yearly music technology 

tradeshow/conference in Cannes, France) 

earlier this year. BMI also secured a spot 

on the back cover of Billboard’s first 

issue of the publication’s own rebranding 

campaign… That spot was no coincidence. 

“We were the first ones at the cash register 

saying, ‘I want that back cover.’ Here were 

two industry stalwarts: a new Billboard logo 

on the front cover and a new BMI logo on 

the back.” 

BMI has had quite the résumé of 

successful acts since 1939. Recently, its 

members celebrated several Grammy 

nominations and awards at the 2013 show, 

including fun., the Black Keys, Frank Ocean 

and Kanye West, to name a few. 

Contact Silvia Davi, BMI, 212-220-3127, 

sdavi@bmi.com 


Call 800-356-5844 

or visit fullcompass.com 

Leading The Industry For Over 35 Year s 

Follow Us 

Request your FREE 

524-page catalog 

Call a 

Sales Pro 

Today! 


CAREER CONNECTION 


Producer-Engineer-Songwriter 

Wants To Record YOU 

Producer, engineer and songwriter 

Christopher Tyng wants to pay it forward by 

recording your music… free of charge. Tyng 

is now accepting applications for his Grow 

Music Project, an initiative created to give 

back to the music community. 

Essentially, the project’s concept is a simple 

one: Tyng and his recording studio team will 

choose one artist/band out of thousands 

of submissions to record one song. And 

while tracking one song in your basement 

may only take three or four tries, as Tyng 

explains, this pre- and post-production 

package is far more in-depth. “A lot of 

people save up enough money to book 

a studio for a weekend and try to record 

10 songs. Sometimes that works great. 

What we’re trying to do is give people the 

opportunity to take three [full] days—off the 

‘clock’—to focus on what they think is their 

best song. It gives them the freedom to not 

try to get as much done as possible.” 

So what’s the catch; what’s in it for Tyng 

and company? “We don't have an agenda 

in their song in any way,” explains the 

producer. “There’s no hidden ‘time share’ offer 

here. Our whole goal is to give these musicians 

the opportunity to come in and do something 

really cool then give them all the tools that we 

can: masters, instrumental versions, etc.” 

Tyng understands that it takes more than just 

hard work to make it in today's ever-changing 

industry. “I was playing with my own band for a 

few years and thought, ‘god these bands [I’m 

touring with] are awesome,” he continues. “Even 

these bands who really had a strong sense of who 

they were as an artist were still scraping to get 

their music to that next level.” Since Tyng’s career 

launched from both hard work and opportunity… 

he now wants to create that opportunity for 

someone else. 

“[I’ve] been really fortunate and 

now it’s our turn to do something 

that creates some positive energy 

in a business that’s sometimes 

a little lacking." 

You see, when Tyng was first becoming 

interested in the music industry, he was attending 

college in New York. At that time, he and some 

friends submitted for BMI’s Pete Carpenter 

Fellowship—a film/TV scoring contest that would 

award one entrant with a three-month fellowship 

in Los Angeles to work under the wings of some 

of Hollywood’s finest songwriters/composers. One 

of those composers was Basil Poledouris 

(Conan the Barbarian, RoboCop, The 

Hunt for Red October). Tyng hadn’t heard 

of BMI nor did he realize that winning the 

fellowship would prove to be a major career 

accelerator. 

“Basil really adopted me and became 

like my West Coast dad,” proclaims Tyng. 

“He took me under his wing and taught 

me an enormous amount and threw a lot 

of opportunity my way… and never did he 

say, ‘Hey, I want half.’ [I’ve] been really 

fortunate and now it’s our turn to be part of 

that circle and do something that creates 

some positive energy in a business that’s 

sometimes a little lacking.” 

Since that time, Tyng has worked as a 

songwriter, producer and composer at his Santa 

Barbara, CA studio (just two hours northwest of 

Los Angeles)—recent works have included Suits 

and Rescue Me. 

His competition will accommodate the winning 

artist/band for the weekend at the Southern 

California studio, however travel arrangements will 

need to be covered by the musicians. Along with a 

free song (which will be pre-produced, mixed and 

mastered for radio, film and online use), the Grow 

Music Project will provide a production video for the 

musician(s) to showcase how the entire process 

came to fruition. Submission deadline is May 1st. 

Visit http://growmusicproject.com 


CD REVIEWS 

In order to be considered for review in the CD Reviews section, you must have a record deal with a major label or an independent label 

with an established distributor. If you do not, please see our New Music Critiques section. 

STRFKR 

Miracle Mile 

Badman, Polyvinyl Records 

Producer: Jacob Portrait 

 

Who knew indie electronica-pop 

could be so intellectually satisfying? 

Miracle Mile keeps ravers on their 

feet and dreamers’ heads out of the 

clouds, via dance-worthy club beats 

mixed with thoughtful, mind-penetrating 

lyrics and odes. Take “Leave it All 

Behind,” a trippy, retro tune tinged with 

faded memories and jaded promises. 

Vocalist Joshua Hodges’ deep, lyrical 

reflections and vibrant prose refine 

STRFKR’s sound without overpowering 

the band’s laid-back, body-flowing 

energy (think a less-psychedelic MG- 

MT on synth-heavy tracks like “While 

I’m Alive” and “Atlantis”). “Miracle Mile” 

provides an escape to a never-ending 

party of chill, electrifying tunes and 

funky sway. ——Danica Bellini 

Wisdom 

Full Spectrum 

ILQC 

Producer: Tevya “Wisdom” Jones 

 

To say that NorCal’s Wisdom 

spreads the “conscious” hip-hop 

would be an understatement, considering 

he gets much of his inspiration 

from spiritual teacher Ram Dass. 

Already reaching the top of the Jamaican 

music charts, Wisdom’s blend of 

hip-hop and reggae features the voice 

of Michael Rose (the legendary singer 

form Black Uhuru guests on “Chatty 

Mouth”), and the stamp of approval 

from UK heroes, Steel Pulse. Fans of 

Michael Franti and Ozomatli are also 

sure to dig the message of universal 

love, and Dakini Star adds the sensual 

female touch. Sol Rising on scratches 

ensures that you never forget that 

Wisdom is keeping it true-school. 

——Daniel Siwek 

2 Cellos 

In2ition 

Sony Masterworks 

Producer: Bob Ezrin 

 

This music is in a class by itself. 

In2ition is the second release for 

Croatian cellists Luke Sulic and 

Stjepan Hauser. They are classically-trained 

musicians, with one 

foot in tradition and another firmly 

entrenched in modern and classic 

rock and pop. Under the tutelage 

of legendary producer Bob Ezrin, 

six-string virtuoso Vai goes head 

to head with Sulic and Hauser on 

AC/DC’s “Highway to Hell.” Elton 

John also delivers a soulful version 

of Fleetwood Mac’s “Oh Well” and 

Rivera unleashes a provocative 

take on Muse’s “Supermassive 

Black Hole.” A listening experience 

you will not soon forget! 

——Eric A. Harabadian 

Old Man Markley 

Down Side Up 

Fat Wreck Chords 

Producer: Fat Mike, Johnny Carey 

 

Old Man Markley’s sound is marketed 

as being at the nexus of punk 

and bluegrass. And while the L.A. 

seven-piece’s Down Side Up may 

be on Fat Wreck Chords and NOFX’s 

Fat Mike produced it, the truth is, 

there is very little “punk” to be found 

here. Listeners get crisp production, 

stellar musicianship, sugary melodies 

and a slightly more muscular take on 

traditional bluegrass. And with ballads 

such as “Beyond the Moon” and “Too 

Soon for Goodnight,” there is nothing 

keeping this disc out of the hands of 

Old Crow Medicine Show fans. Good 

times await for those willing to check 

any predilections for gang-shouted 

choruses and hardcore breakdowns 

at the door. 

——Albert Vega 

Gold Fields 

Black Sun 

Astralwerks 

Producer: Gold Fields 

 

If you had played this CD for me 

and told me that it was the new release 

by Duran Duran, I would totally 

have believed you. Melodic, breathy 

vocals, big keyboard washes buoyed 

by a funky rhythm section and guitar 

all conjure up the best aspects of ‘80s 

British synth-pop. The very modern 

production is immaculate, and these 

Australian lads have really done 

their homework on crafting some very 

danceable tunes. The themes are 

just dark enough to keep things 

slightly unsettling, such as the chorus 

of “Meet My Friends” (“I saw the 

faces, I saw the fear”), and the lyrics 

in “Moves” (“Someone said how Ashley 

broke his arm...”) A shimmeringly 

solid debut! ——David Arnson 

Hey Marseilles 

Lines We Trace 

Onto Entertainment/Thirty Tigers 

Producer: Sam Anderson, Hey Marseilles 

 

The Seattle rain must be covering 

everything with a beautiful dewy 

sheen, given the nature of these six 

northwesterners’ sophomore release, 

Lines We Trace. Described by the 

band as a “folkestra,” Hey Marseilles 

use rich layers of cello, accordion, 

sweeping piano, guitar, huge drums 

that clap and thunder, trumpet and 

viola to achieve an orchestral variety 

show of music with shadings of jazz, 

classical piano numbers and chamber 

folk with intricately woven hooks. The 

buoyant pop sense lies within those 

hooks that come like a downpour, but 

vocalist-guitarist Matt Bishop delivers 

the lyrics—heartfelt, concerning love, 

lament and loss—with the gentleness 

of a drizzle. ——Jessica Pace 

Swing Out Sister 

Private View 

Shanachie Entertainment 

Producer: Swing Out Sister 

 

Credit the eruption of the Icelandic 

Volcano a few years ago for this 

unique acoustic project, which finds 

Swing Out Sister—the UK duo of 

Corinne Drewery and keyboardist 

Andy Connell—celebrating their 25th 

Anniversary with soulful, dreamy reimaginings 

of both familiar hits (“You 

On My Mind,” “Notgonnachange”) and 

lesser known but still worthy album 

tracks (the instrumental, vibes driven 

take on “Now You’re Not Here”). Not 

knowing when flights for their Euro 

tour would resume, SOS decided 

to record these colorful, grown-up 

arrangements. Two cool, trippy new 

interludes enhance a collection which 

shows off the duo’s jazzier side. 

——Jonathan Widran 

Mike Oldfield 

Tubular Beats 

earMusic/Eagle Rock Entertainment 

Producers: Mike Oldfield & 

Torsten “York” Stenzel 

 

British multi-instrumentalist/composer 

Oldfield has certainly gotten a 

lot of mileage out of the Tubular Bells 

“franchise,” with past remakes and 

repackaging of it as an orchestral 

work, various re-issues and so forth. 

But here he takes that seminal piece, 

as well as a number of his other best 

known compositions, and gives them 

a shimmering electronic redux. “Let 

There Be Light” and “Ommadawn” 

retain their ambient and trance-like 

originality, but are given a fresh, intoxicating 

groove. This disc is, in essence, 

an overview of the leader’s career 

highlights but, with added guitar parts 

and musical passages throughout, the 

songs take on a whole new perspective. 

——Eric A. Harabadian 



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. 

Sleepy Tea 

Contact: management@tsquaredpromo.com 

Web: facbook.com/sleepytea 

Seeking: Publishing, Label 

Style: Dream-Pop/Indie-Folk 

Username: sleepytea 

Cathy Heller 

Contact: cathyheller1@mac.com 

Web: soundcloud.com/cathyhellermusic 

Seeking: Film/TV 

Style: Singer/Songwriter 

Username: CathyHeller 

Production 

9 

Lyrics 

9 

Music 

9 

Vocals 

9 

Musicianship 9 

e're knocked out by these at- 

Australians, whose 

Wmospheric 

dream-pop has echoes of Radiohead, 

but is quite distinctive. Tremendous 

tones abound and are given lots 

of sky to soar in thanks to languid, 

laidback pacing, all of it punctuated 

by warm, extremely wet percussion 

and appropriately gentle vocals. "At 

The World's End" is the act's opus, an 

excursion into their collective mind. 

Though an apparently new project 

whose moniker fits their sound, this 

absolutely brilliant Brisbane group 

seem incredibly ready for the world. 

Production 

8 

Lyrics 

8 

Music 

8 

Vocals 

8 


eller has a genius for crafting 

Hpop-rock ditties for film/TV 

placement. Is there a new gotta-haveit 

gadget in need of a song for its TV 

spot?... How about Heller's "We're 

Good Together," a playful, carefree 

tune complete with handclaps—and 

whistling! The song builds well and 

her vocals sit perfectly in the mix. 

Another catchy hook heralds the 

confessional "I Am All These Things," 

whose cathedral chorus singalong is 

undeniably infectious. "Breaking Free" 

is a deeper, more direct tale of selfrealization. 

Heller is a superior talent. 

Scott James 

Contact: judikerr@aol.com 

Web: scottjamesmusic.com/presspage 

Seeking: Film/TV 

Style: Singer-Songwriter 

Username: scott james 

Westland 

Contact: aaronabonus@gmail.com 

Web: fb.com/westlandmusic 

Seeking: Label, Film/TV, Booking 

Style: Alt. Indie Pop 

Username: westland 

Production 

8 

Lyrics 

8 

Music 

7 

Vocals 

9 


toryteller, troubadour, coffeshop 

Scaptain, young artist Scott James 

takes the risk of recording with just 

his voice and guitar (or piano), but 

it pays off due to terrific tone and a 

vocal gift that echoes Jeff Buckley. 

Still, his stark, downcast, existential 

material ("My Road," "Caves In") could 

certainly benefit from fuller, fleshedout 

instrumentation. Despite his 

shortcomings (including a tendency to 

rely on predictable, walking melodic 

changes), James' talent and promise 

are more than apparent. It'll be 

interesting to hear him progress. 

Production 

8 

Lyrics 

7 

Music 

8 

Vocals 

8 


ery well-produced power pop 

Vcomes from this Boston-based 

band fronted by Aaron Bonus. 

Songs are familiar, but you've gotta 

admire the level of craft exhibited 

here. "Steady Now" is the band's 

best outing, a well-shaped single 

replete with vocal "Ooo's" that make 

it a dead-ringer for film/TV. "Jack & 

Coke" is a bit less engaging due to a 

complex, meandering chorus and a 

disappointing guitar solo. The balladlike 

"Bleed" features a stately cello 

section and sounds not unlike the 

band Anberlin if they did ballads. 

Everlyn 

Contact: everlynband@hotmail.com 

Web: soundcloud.com/everlynband 

Seeking: Label, Bookijg, Mgmt, TV, Radio 

Style: Rock/Alternative/Pop 

Username: everlyn 

Jakob22 

Contact: deathchamberzmusic@gmail.com 

Web: jakob22.com 

Seeking: Booking 

Style: Rap 

Username: insomniamusic 

Production 

8 

Lyrics 

7 

Music 

7 

Vocals 

8 


hough based in Spain, this 

Tfemale-fronted guitar-driven band 

have an altogether Anglo sound that 

reminds us of Paramore. The band's 

best is "Time to Change," which 

packs a powerful chorus complete 

with repeatedly descending "ohhhhs" 

and spot-on drumming. The twitchy, 

energetic "Dream" has a throwback 

sound due to prominent vintagevibing 

synths that really tear it up. The 

hooky, melancholy sway of "Stars" 

shows that singer Karol carries a tune 

ably, though there is still room for her 

to grow and learn to strut her stuff. 

Production 

7 

Lyrics 

7 

Music 

8 

Vocals 

8 


T 

oronto rapper Jakob22 understands 

a good hook, and he 

drops a nice one in the Tupac and 

Atmosphere-influenced "Release Me" 

where he teams with rapper Flex. A 

female guest on "Make You Smile" 

adds lightness to a heavy and dark 

song whose lyrics dwell on struggle 

and pain. Epic and large, with 

dramatic church bells, the funereal 

"In Your Dreams" deploys a creepy 

organ and is carried by a unique 

non-western beat. What's impressive 

is how, on each track, this brooding 

artist sticks to his signature style. 


NEW MUSIC CRITIQUES 

Production 

8 

Lyrics 

7 

Music 

7 

Vocals 

8 


Thoughts In Reverse 

Contact: shelly@metalworksmanagement.com 

Web: fb.com/thoughtsinreverseband 

Seeking: Label 

Style: Progressive Metal 

Username: thoughts in reverse 

houghts In Reverse seamlessly 

Tblend the blasting of metalcore with 

the heaviest and slowest breakdowns 

of early hardcore. Vocalist Magee 

reminds us of early Misery Signals 

while drummer Stuhler is tenacious. 

"Keep it Wolf" showcases more metal 

with tough-guy chants… hell, even 

the breakdown has a breakdown. 

"Mentality" adds more melody and a 

higher screaming cameo. What stands 

out is TIR's determined heaviness, 

even when the guitars call for a clean 

chorus (with the exception of "Dead 

Poet")—which may grow to be their 

calling card. Keep working, guys. 

Production 

7 

Lyrics 

7 

Music 

8 

Vocals 

8 


One Day Steady 

Contact: onedaysteady@gmail.com 

Web: reverbnation.com/onedaysteady 

Seeking: Label, Booking, Film/TV, Agent 

Style: Alt. Rock 

Username: onedaysteady@gmail.com 

T 

here's good material and loads of 

happy energy here (the drummer 

impresses) but it all needs more help 

from the production. The upbeat, 

organic, earnest "Dave's Song" is 

promising but the chorus doesn't 

get the push it needs. The drummer 

is again the MVP on "Shine," which 

takes too long to get to its chorus. 

"Break Break," however, is a funny 

song that morphs into a drunken 

frat-party singalong. Its only shortfall 

is the tentative guitar of singer Ryan 

Peters. Hire a gifted soloist, guys, and 

let Peters command the mic. 

Neverwonder 

Contact: dougdeutschpr@gmail.com 

Web: neverwonder.com 

Seeking: Label, Booking, Film/TV, Tour 

Support, Product Placement 

Style: Modern Rock 

Username: neverwonderband 

Campaigning for Zeros 

Contact: campaigningforzeros@gmail.com 

Web: campaigningforzeros.com 

Seeking: Booking 

Style: Alternative 

Username: Campaigning for Zeros 

Production 

7 

Lyrics 

7 

Music 

7 

Vocals 

9 


straightahead rock quintet features 

A new lead singer Alima Soul and 

proves they made the right choice— 

the girl can really belt it on both lead 

and backups. The soulful ballad 

"Spinning" brings impressive vocal 

energy and varied percussion. "Help 

Me," however, needs more power in the 

chorus. "Let It Out" presents a funky 

rhythm vibe a la Red Hot Chili Peppers. 

The band's overall attack yields solid 

results, but for this material to stand 

out, these overly contained pocket 

players really need to step up and 

make something happen. 

Production 

6 

Lyrics 

7 

Music 

7 

Vocals 

8 


n extremely '90s punk sensibility 

Ableeds from these basement-style 

recordings from Campaigning for 

Zeros, as in the Green Day influenced 

"Sour Glass." The low-fi sensibility 

does the band little favors, though, as 

their instruments, especally drums, 

lack power. "Multiple Attempts, Still 

Nothing" has a nice doubling effect in 

the chorus, but the track sounds as if 

the bassist did the mix. Eric Taylor's 

angsty lead vocals provide a proper 

edge to the proceedings, and if the 

band were to get into a good studio, 

this project would benefit greatly. 

Production 

7 

Lyrics 

7 

Music 

7 

Vocals 

7 


Dead Legend 

Contact: deadlegendband@gmail.com 

Web: http://deadlegend.net 

Seeking: Label, Booking Agent, Film/TV, 

Distribution, Management 

Style: Hard Rock 

Username: deadlegend 

ith one boot firmly in the past 

W(early '90s), Dead Legend deliver 

grungy, straightforward rock that's 

relatable due mainly to its familiarity. 

"Numbers Down" shows Nico Johns' 

firm grip on the mic and his Axl Roseon-ritalin 

stance. "In America" is a 

heartfelt slice of love for the homeland 

whose guitar solo from Otis Paul Smith 

succeeds despite a squall of cymbals. 

An all-out riff-rocker, "Searching" 

suffers from the same affliction as the 

rest—a persisently muddy organ in 

need of EQing. We suggest using the 

organ only on the choruses. 

Production 

7 

Lyrics 

7 

Music 

7 

Vocals 

7 


Shamiah Trenae 

Contact: mmusic4u@gmail.com 

Web: soundcloud.com/shamiah-trenae 

Seeking: Label, Distribution 

Style: Pop/R&B 

Username: shamiah trenae 

ennessee-based R&B/pop artist 

TTrenae is unable to convince us 

she's a viable R&B performer with 

her sexy/sultry "Love" and "Nothing 

Like This." Both are handicapped by 

sub-par production, including Autotune 

and vocal compression. Though 

her voice is competent she never 

attempts to really catch fire, seeming 

content to blend in. With its K-pop 

groove "You Can't Tell Me Nothing" is 

the artist's most commercially viable 

work, a good showcase for her as a 

dance/pop act, something for which 

she seems much better suited. 

SUBMISSION GUIDELINES: There is absolutely no charge for a New Music Critique. We critique recordings that have yet to connect with a label or distributor. 

To be considered please go to http://musicconnection.com/amp and click on “Get Reviewed.” All submissions are randomly selected and reviewed by committee. 


LIVE REVIEWS 

Liberation Day 

O’Brien’s Pub 

Allston, MA 

Contact: liberationday@live.com 

Web: http://liberationday.org 

The Players: Chris Kenneally, vocals, guitar; 

Chris Tatoyian, guitar; Becca Frank, synth; Jeff 

Harrington, drums; Joe Morency, bass. 

Username: Liberation_Day 

Material: Despite declaring themselves a postpunk 

/ indie project, Manchester, NH’s Liberation 

Day inhabit a unique space that distinguishes 

their sound from those sagging genres. While 

rhythmic and fun, the group's foreboding bass 

and squealing guitar interjections infuse their 

style with an ominous sheen that’s as sinister as 

it is exuberant, making them something like the 

ideal party soundtrack to the end of the world or 

an apocalyptic miasma that makes you want to 

dance. 

Musicianship: Weaving a dreaded tapestry 

of toe-tapping fizz around an emotional 

center of fatalistic romanticism, the five-piece 

effortlessly stitch their sound into a sumptuous 

whole. Harrington’s drums grant this group 

a marvelously full-bodied sound, but it’s 

Morency’s bass that satisfies one’s soul. One 

could question whether Frank’s synth remains 

necessary, but guitarist Tatoyian tantalizingly 

spices their flavor with experimental feedback. 

Performance: Vocalist Kenneally exuded 

a delectable stage presence, comfortably 

introducing songs before punctuating their 

execution with a true entertainer’s expression. 

The others, for the most part, didn’t radiate 

the same élan, instead maintaining a distant 

Liberation Day: An apocalyptic miasma that makes you want to dance. 

separation that, one might argue, actually fit 

better with their tragic musical persona. Things 

intensified toward the conclusion of their under 

35-minute set when the frontman amped up his 

physicality, playfully bumping into his partners 

before hurling himself off stage. Harrington 

placed the evening’s final exclamation point when 

he dispassionately wrecked his drum set. 

Summary: An enormously entertaining effort, 

Liberation Day strike a harmonious balance 

between anarchic pessimism and romantic 

pop. Their greatest weakness remains a lack 

of memorable hooks, a fault they seem aware 

of as they reserved their catchiest tune for 

their ultimate sendoff. There’s work yet to be 

done before they stand above the rest, but this 

group conjured an outstanding foundation upon 

which they’ll inevitably build. It’s invigorating to 

contemplate where Liberation Day travel once 

they’ve plundered their core. 

——Andy Kaufmann 

!"#$%&!'()!"" 

Caro Emerald 

El Rey Theatre 

Los Angeles, CA 

Contact: elutz@shorefire.com 

Web: http://caroemerald.com 

The Players: Caro Emerald, vocals. 

Username: caro emerald 

Material: To categorize Dutch singer Caro 

Emerald under a single genre would only be 

cramping her style. Indeed she is a trained 

jazz vocalist, but her material is a multifaceted 

masterpiece colored with Latin, funk, pop and 

big band influences. Supporting herself with an 

eight-piece band, including a brass section and 

a scratch DJ, Emerald delivers a retro feel with 

modern appeal. With catchy tunes like “Back 

It Up,” a Dutch chart-topper for over 21 weeks, 

and “A Night Like This,” the singer marries the 

right amount of classic period characteristics 

with cultural flavors to allure listeners from all 

walks of life. 

Musicianship: From her vocal strength to 

her shining personality, Emerald is close to 

flawless, making the fact that she is classically 

trained no surprise. Despite rare moments of 

her vocals burrowing beneath the band’s big 

sound, which is easily fixed with slight changes 

to the mic levels, Emerald is able to sing her 

emotions through facial expressions and body 

language alone, allowing the fleeting moments 

of drowned vocals to go unnoticed. 

Overall, Emerald and each of the eight 

Caro Emerald: Multifaceted masterpieces colored with Latin, funk, pop and big band influences. 

members of the band know how to put on a 

show. 

Performance: Just as the packed venue 

began to grow antsy, the curtains parted and 

the band broke into an upbeat jam session, 

introducing the headliner with a creative DJ 

triggered narrative. Shortly after, Emerald took 

the stage with an intoxicating smile that quickly 

settled the impatient bustle. Within 30 seconds 

of “You Don’t Love Me,” the fans were high 

on excitement, singing every lyric. Although 

this was their first show in the US, Emerald 

and her band owned the stage as if they had 

been there before. The ecstatic singer glowed 

with a genuine confidence. She showed much 

appreciation for her fans, as well as her band, 

as she shared the spotlight with class, giving 

each musician a chance to show off. 

Summary: Caro Emerald is a bona fide 

entertainer, and with her immense success 

overseas it is only a matter of time before she 

makes her mark in the US. The singer’s soulful 

style and culturally diverse material is sure to 

find an audience. ——Allegra Azzopardi 

!**+,-!%!../0!-#1 

GET YOUR ACT REVIEWED: See musicconnection.com/amp. Please DO NOT mail a package. 


LIVE REVIEWS 

Jimmy Binks and the 

Shakehorns 

Mandala2 

Kichijoji, Tokyo, Japan 

Contact: info@jimmybinksandtheshakehorns.com 

Web: http://jimmybinksandtheshakehorns.com 

The Players: Sam Berry, lead vocals, guitar; 

Julian Peters, guitar, vocals; Yuuki Shiroma, 

bass; Tim Marchand, percussion, sax, vocals; 

Darren Scaife, drums; Jonathan Bojarzin, 

mandolin, lap steel, harmonica, cowbell. 

Username: jimmybinks 

Material: Jimmy Binks and the Shakehorns 

provide crowd-pleasing original material and 

intelligently chosen covers, which they make 

their own. Originals blend bluegrass, old-school 

country, roots and Irish folk. Apart from the one 

classic rock cover, their borrowed repertoire is 

exclusively Urban music. The effect being more 

infectious than comedic, pogoing breaks out 

during raucous covers of Outkast’s “Hey Ya,” and 

Coolio’s “Gangster’s Paradise,” which they offer 

as an encore. Standout originals include the 

bluegrass-flavored “Half the Time,” and “Such a 

Smile,” the latter earning a song placement in 

NBC ’s The New Normal. 

Jimmy Binks and the Shakehorns: Bluegrass, roots and Irish folk originals blended with urban covers. 

Musicianship: Sam Berry delivers his storytelling 

vocals like Boxcar Willie, while performing 

rhythm guitar on his Martin. Julian Peters brings 

Chet Akins-like leads and bluegrass picking on 

his own Martin, and contributes equally professional 

vocals. Yuuki Shiroma plucks bass lines 

with the feel of a jug or an upright, and drummer 

Darren Scaife wields his brushes masterfully, 

seamlessly transitioning the band from genre to 

genre. Tim Marchand switches between percussion 

and saxophone with ease, and provides 

competent backing vocals as well. Guest musician 

Jonathan Bojarzin proves his worth as one 

of Tokyo's finest multi-instrumentalists, fleshing 

out the songs on mandolin, lap steel, harmonica 

and cowbell. 

Performance: Lead vocalist Sam Berry 

greeted the crowd warmly, receiving playfully 

hostile responses like those of a British pub 

crowd. After the third song, Berry announced 

that they had to strip a bit, because they were 

going to speed things up. Cheers erupted 

as the audience noticed that the band were 

wearing brand new Jimmy Binks t-shirts as 

undershirts. Humor, being an essential part of 

their lyrics, was also used effectively between 

songs. “While you’re on your way to the toilet, 

you can buy our CD” and, “This next song is 

about murder, not that I think murder is funny,” 

being two of the best lines of the night. Having 

six musicians on a small stage didn't allow 

the band to run around, but the audience was 

given more than its money’s worth in the form 

of tasteful jamming and solos worthy of Tom T. 

Hall's backing band. 

Summary: Jimmy Binks and the Shakehorns 

are a crowd-pleasing country band who have 

found their sound as well as their audience. The 

main point holding them back may be choosing 

venues that limit their movement too much. 

With better PR and management, this band 

could vie for success on an international scale. 

Very inspiring, both to watch and to listen to, 

Jimmy Binks and the Shakehorns are definitely 

worth keeping track of in the next few years. 

——Laurier Tiernan 

!"#$"#%&!'()( 

Louise Goffin 

The Hotel Cafe 

Hollywood, CA 

Contact: nicole@Lafamos.com 

Web: http://louisegoffin.com 

The Players: Louise Goffin, lead vocalist, multiinstrumentalist; 

Craig MacIntyre, drums; Bob 

Glaub, bass; Billy Harvey, vocals, guitarist; Lee 

Curreri, piano, keyboard. 

Username: Louise Goffin 

Material: Louise Goffin is the daughter of Gerry 

Goffin and Carole King and you can expect 

to hear their influence in her music. Songs of 

friendships, farewells and personal evaluations 

are exemplified by “Archives” and “Two 

Different Movies.” Cheap hotel rooms, lonely 

train cars and long stretches of empty road tells 

a story which Goffin explained is, “picked up on 

the highway of life.” 

Musicianship: Tension and tempo are central 

to the work; stark with only vocal and instrument 

for the first verse, then building with the full 

band to a crescendo. Goffin continually adjusts 

sound levels for the variety of instruments and 

styles. 

It would be nice to see an actual horn section 

rather than synth for the mod pop opener, 

“Dance (With The One Who Brought You)” and 

the artificial Hammond organ is excessively in 

the mix on “New Year’s Day.” MacIntyre adds 

subtle cymbals with soft mallets and good oldfashioned 

kick thumping to work up the crowd 

Louise Goffin: Grammy-nominated producer performing with soft elegance. 

for the country jams. Glaub steals the show, 

locking in his bass lines with his pumping Mesa 

Boogie amp. 

Performance: Goffin and Harvey traded lead 

vocals to spotlight two originals by Harvey, which 

added an Americana flair to the set as Goffin 

took to banjo. The show stealer was “Clicking 

To The Next Slide,” which she explained was 

a reference to View-Master toys used as a 

metaphor for childhood perceptions of time. 

The song was stylistically comparable to Lenny 

Kravitz or Jason Yudoff. The banter between 

songs was fun; that heavyweight contender 

banjo took a pit fall not once but twice, becoming 

a character in the show as Goffin explained, “A 

good instrument is like a good relationship.” 

Summary: The hot feature of Louise Goffin’s set 

is “New Year’s Day,” a selection from Goffin’s 

first Grammy-nominated album A Holiday 

Carole which she produced for Carole King. The 

songwriter was dared to play this piano-based 

song on guitar and did so with a soft elegance 

that held her audience breathless. She excels 

at this ability, resonating with her audience as 

much as the music’s sustain. 

——Brooke Trout 

*'++,!#%'+-% 


LIVE REVIEWS 

People Under the Stairs 

El Rey Theatre 


Contact: nik@ballinpr.com, 323-334-6917 

Web: http://pl70.net/artists/people-underthe-stairs 

The Players: Thes One, Double K. 

Username: People Under the Stairs 

Material: People Under the Stairs (P.U.T.S.) 

combine ingredients of hip-hop, rock, disco, funk 

and soul into one pot to serve listeners a dosage 

of reality straight from the city of Los Angeles. 

Think Run-DMC meets the Beastie Boys with a 

touch of Steely Dan. Songs such as “Can’t Hold 

It Back” profess their love for hip-hop and for their 

fans over a smooth, jazzy instrumental, while 

“Time Bandit” uses more guitar, cymbals and hihats, 

placing P.U.T.S. in position to showcase their 

dominant verbal charisma. Classic favorites like 

“San Francisco Knights” are guaranteed to have 

everyone in attendance in a relaxed, groovy mood. 

The music converges on feel-good topics as 

well as current events, confirming that P.U.T.S. 

are the go-to Los Angeles ambassadors of 

underground hip-hop. 

Musicianship: P.U.T.S.’ unique chemistry and 

shared ability to utilize every live instrument in 

their set confirms the duo's musical prowess. 

Thes One is dedicated to proficient production— 

see “We Got It”—which allows him and Double K 

to musically shine over two turntables and a mic. 

Performance: This group know when and how 

to complement each other during a performance. 

Their stage energy electrifies and is nothing less 

than innovative and exciting. 

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

They demonstrated carefree crowd participation—Thes 

One even took someone’s beer 

in the front row and drank from it. Double K 

followed suit by talking to the crowd between 

songs, touching on the Sandy Hook massacre. 

They looked like they were having a sincere, 

intimate time not only with each other, but also 

with everyone in attendance. 

The set closed with P.U.T.S. performing the 

first song they ever made together. Plus, Double 

K brought out his mom, sister and brother and 

close friends to continue the send-off. 

Summary: People Under the Stairs are indie 

hip-hop veterans who have never really cared to 

change over into the mainstream. They understand 

the underground is where they continue 

to excel. Double K said it best: “We’ve traveled 

to six continents and make six figures a year.” 

These guys are role models with a live show 

performance that is truly unparalleled. One can 

only imagine how spectacular their live sets will 

be from here on out. 

——Adam Seyum 

!"!#$%&'(# 


LIVE REVIEWS 

Kawehi 

Bar Lubitsch 

West Hollywood, CA 

Contact: ihewak@mac.com 

Web: http://kawehi.com 

The Players: Kawehi, toy piano, vocals 

Username: Kawehi 

Material: Kawehi delivers a sound that we’ve 

heard before, but one that is created in an 

unconventional way. She is a one-woman a 

cappella group, complete with beat boxing and 

effected bass lines that help fill and texture the 

sound. This is possible with the assistance of 

a looper pedal used to stack harmonies and 

instrumentations—making her voice as the only 

instrument needed. 

Musicianship: Her vocal tone has a nice 

airy quality that creates a well-blended sound; 

something that is imperative when making 

music solely with one’s voice. Kawehi begins 

every song by laying down its beat and multiple 

musical lines. Her knowledge of these different 

lines is impressive and it truly sets her apart from 

other singer-songwriters who bring only guitar 

and vocals to the table. 

Performance: Kawehi has utilized Kickstarter 

to fund three EP's to date and the songs she 

performed were a part of those projects. For top 

donors, Kawehi has written songs on the topics 

of their choosing, allowing for diverse lyrics, 

which she partners with satisfying hooks and 

catchy melodies that are reminiscent of much 

current pop. She made the toy piano she played 

on her mash-up of “Tainted Love” and “Where 

Did Our Love Go” sound anything but childlike. 

Paula Cole 

City Winery 

New York, NY 

Contact: monica@thinkpress.net 

Web: http://paulacole.com 

The Players: Paula Cole, vocals, piano; 

Mark Erelli, guitar, vocals. 

Username: paula@paulacole.com 

Material: “I am so ordinary” sings Paula Cole; 

in a song from her first album Harbinger, 

reflecting on the pain and disappointment of 

being the back-up girlfriend. But rest assured, 

there is nothing ordinary about Paula Cole. 

An established Grammy-winning songwriter 

and performer for the past two decades, Cole 

continues to wow audiences with her live 

show and profound take on life and on love. 

Her sound is contemporary but there is also 

a connection to iconic women songwriters of 

the ‘70s like Joni Mitchell who are adept at 

writing deeply personal songs while turning 

them into hits. “I Don’t Want to Wait,” written for 

her grandfather (and also the theme song for 

Dawson’s Creek) is so musically memorable 

most everyone in the room can hum the 

instrumental intro—which she encourages the 

audience to do. Cole also introduces the brand 

new song, “Eloise,” which will be the title track 

on her forthcoming April release, Raven. 

Musicianship: Her warm, dark voice is 

drenched in emotion and Cole knows exactly 

how to get the most out of it alternating from 

explosive and full-voiced to hushed and breathy 

during more tender moments. Her piano work is 

highly musical and a true reflection of how the 

songs were created. Joined by guitarist-singer 

Kawehi: A one-woman a cappella group, complete with beat boxing and effected bass lines. 

Songs like “Lucy” showcased her ability to write 

memorable melodies. “Neda” highlighted lyrical 

expertise that is often forgotten about amid pop 

music’s lightness. While it was difficult to get to 

know Kawehi as an artist in her four-song set, she 

added the right amount of stage presences and 

(much needed) focus to the performance. 

Summary: Kawehi's brings intelligence to the 

singer-songwriter genre. Her direct funding and 

creating technique allows for interesting songs 

Paula Cole: Grammy-winning songwriter with a warm, dark voice drenched in emotion. 

Mark Erelli, (an accomplished artist in his own 

right) they create a vocal blend that elevates the 

performance to an even higher plane. 

Performance: Following a chronological 

timeline of sorts, Cole began with songs 

from Harbinger which she connected to her 

“formative” years in New York City. From 

there she moved on to “I Believe in Love” from 

Amen which became a hit as a dance re-mix. 

She saved the biggest hits for the latter part 

of the set. “I Don’t Want to Wait” followed by 

“Where Have All the Cowboys Gone,” her 

unique tongue-in-cheek take on male-female 

relationships while poking fun at gender 

stereotypes. She closed the show with a striking 

that are more substantial than a lot of produced 

pop. The danger of using a loop pedal is that if 

one note is even the slightest bit sharp or flat a 

musician’s only options are to start over or have 

the entire vocal instrumentation sound dissonant 

(and not in a nice way). Tightening up her pitch 

and providing the audience with longer set lists 

will allow Kawehi’s performances to showcase 

the unique artist she promises to be. 

——Karen Emmert 

version of Dolly Parton’s “Jolene” complete with 

beat box solo. The taut and well-planned set left 

audience members wanting more, but certainly 

offered plenty of the Paula Cole experience. 

Summary: Paula Cole is an outstanding and 

committed performer who immerses herself so 

completely in every song that you are instantly 

drawn into her vortex. She continues to write 

new material while keeping her earlier work 

very much alive. Shedding undue pressures 

that a major label puts on artists these days, 

Cole is breaking free from that arrangement 

and doing it her way with a loyal fan base 

behind her. 

——Ellen Woloshin 

ELLEN WOLOSHIN KAREN EMMERT 


Download This Directory From Our Website 

www.musicconnection.com/amp 

30 th Annual Directory of 

Managers & Agents 

Download This Directory From Our Website: www.musicconnection.com/amp 

Compiled By Denise Coso 

Music Connection’s exclusive, national directory of managers and booking agents will allow you to reach out 

to the firms of your choice. All data is updated with information supplied by the listees. 

MANAGERS 

4 STAR ENTERTAINMENT 

New York, NY 

E-mail: toddfrank@nyc.rr.com 

Web: www.4starent.com 

Contact: Todd Frank 

Styles: Pop, Rock, Oldies 

Clients: Mo’Nique, Cedric The 

Entertainer, Isaiah Washington, 

Yolanda Adams, the Trammps, 

Mary Mary 

*No unsolicited material 

5B ARTIST MANAGEMENT 

1755 Broadway, 3rd fl. 


212-445-3500 

E-mail: info@5bam.com 

Web: 5bam.com 

Styles: Metal, Rock, Alt. 


Additional location: 

1605 Pacific Ave. 

Venice, CA 90291 

310-865-4808 

AAM 

7 W. 22nd St., 4th Fl. 


212-924-2929 

E-mail: matthew@aaminc.com 

Web: www.aaminc.com 

Contact: Matthew Clayman 

Styles: Alt., Rock, Pop, Indie 

Clients: Call for roster 

*No unsolicited material, represents 

producers only 

ABBA-TUDE ENTERTAINMENT 

311 N. Robertson Ave., Ste. 505 

Beverly Hills, CA 90211 

818-991-7399 

E-mail: kingabba@aol.com 

Contact: Mark “Abba” Abbattista 

Styles: All 

Services: Personal management, 

legal 

*Accepts unsolicited material 

A.C. ENTERTAINMENT 

52 Carmine St., Ste.12 


212-741-3083 Fax 212-924-0333 

E-mail: brains@ix.netcom.com 

Web: www.badbrains.com 

Contact: Anthony Countey 

Styles: Punk, hip-hop, alt., rock 

Clients: Bad Brains, Dufus, “Dr. 

Know” aka Gary Miller, Darryl 

Jenifer (producer), Blakvova 

*Accepts unsolicited material, but 

not seeking new clients 

AFRICAN MUSIC SOURCE 

2519 Nason Ave. 

El Cerrito, CA 94530 

510-778-1885 

E-mail: kaokulolo@aol.com 

Web: www.africanmusicsource.com 

Contact: Baba Ken Okulolo 

Styles: African 

Clients: Baba Ken & Kotoja, Baba 

Ken & Afro-Groove Connection, 

West African Highlife Band, 

Baba Ken Okulolo & the Nigerian 

Brothers 


AIC ENTERTAINMENT 

321 High School Rd. N.E. Ste. D3, 

PMB 210 

Bainbridge Island, WA 98110 

206-781-3956 Fax 206-781-3957 

E-mail: info@aicentertainment.com 

Web: www.aicentertainment.com 

Contact: Amanda Case 

Styles: S/S, folk, pop, rock, 

americana, jazz, world 

Clients: Ian Moore, Two Loons For 

Tea, Spottiswoode & His Enemies, 

Modeste, Joel Dilley, Bett Butler, 

Swati, Bronwen Exter, Don DiLego, 

David Berkeley, Jamie Hutchings, 

Sophie Hutchings, Beautiful Small 

Machines. 

*Accepts unsolicited material, call 

or email first 

AL BUNETTA MANAGEMENT 

33 Music Sq. W, Ste. 102-B 

Nashville, TN 37203 

800-521-2112 Fax 615-742-1360 

E-mail: jon@ohboy.com 

Web: www.ohboy.com 

Styles: folk, bluegrass 

Clients: John Prine, Kris 

Kristofferson 


ALLURE MEDIA 

ENTERTAINMENT 

34 E. Germantown Pike, Ste. 112 

Norristown, PA 19401 

215-601-1499 

Web: www.allureartists.com 

Styles: rock, alt. rock, pop, adult 

rock, r&b, hip-hop 

Clients: Sleeper Cell, Maddam Ink, 

Slik Helvetika, XDao, DJ Miguel, 

Kara Reynolds, Tim Laigaie, 

Stealing Love Jones, Thoroughfare, 

Gallucio, The Wonder Years, Greg 

Howe, Uncle Plum, Darryl Ray 

Band, Flux Capacitor, Coolooloosh, 

Tom Taylor, Brian Severn & Those 

Victorious 

*Accepts unsolicited material, 

please follow submission guidelines 

on web 

AMERICAN ARTISTS 

ENTERTAINMENT GROUP 

29 Royal Palm Pointe, Ste. 5 

Vero Beach, FL 32960 

772-569-1040 

E-mail: online@aaeg.com 

Web: www.aaeg.com 

Contact: Anthony Messina 

Styles: pop, rock, R&B, 

country, s/s 

Clients: Jenny Galiardi, Mike 

Guerriero, Lyrical Eye, Baha Men, 

Frank Stallone, Jenny Galiardi 

*Accepts unsolicited material, but 

not seeking new clients 

Additional locations: 

Hal Kaye 

Artist Representative 

646-719-9874 


Dick Kline 

Artists Representative 

Jeff Subaru Assoc. 

Hollywood, CA 90068 

ANGELICA ARTS & 

ENTERTAINMENT 

Nashville, TN 

615-794-0485 Fax 615-591-1463 

E-mail: mgmt@angelica.org 

Web: www.angelica.org 

Contact: Jules Delgado 

Styles: ambient, lounge, new age, 

pop, world, film/tv 

Clients: Seay, Pat Thomi 


ARSLANIAN & ASSOCIATES 

6671 Sunset Blvd., Ste. 1502 


323-465-0533 Fax 323-465-9240 

E-mail: oscar@discover 

hollywood.com 

Contact: Oscar Arslanian 

Clients: Fabian, Chris Montez, 

Kathy Young, Johnny Tillotson, 

Merrilee Rush, Brian Hyland 

Styles: Classic Rock 

Services: personal management 


ARTIST IN MIND 

14100 Dickens St., Ste. 1 

Sherman Oaks, CA 91423-4236 

818-906-8020 Fax 818-924-1000 

E-mail: info@artistinmind.com 

Contact: Doug Buttleman 

Clients: Remy Zero, Sanders 

Bohlke, Jeffrey Cain, the Verve 

Pipe, Brian Vander Ark 

Styles: rock, modern rock, 

pop, adult 


ARTIST MANAGEMENT AND 

CONSULTING 

7135 Hollywood Blvd., Ste. 910 

Los Angeles, CA 90046 

E-mail: hollywoodterri@me.com 

Web: www.thecompletemusician.com 

Contact: Terri Tilton 

Clients: Jimmy Stewart 

Styles: latin, blues, R&B, pop, 

rock, jazz 

Services: Management, consulting 

*E-mail before submitting 

ARTIST MANAGEMENT GROUP 

207 Crabapple Dr. 

Baytown, TX 77520 

713-263-7115 

E-mail: recagle@montrose 

records.net 

Web: www.amgtexas.com 

Contact: Richard Cagle 

Styles: rock, blues, country, pop 

Clients: Carolyn Wonderland, 

Crash Comfort, Grey Eyed Athena, 

Simpleton 


ASQUARED MANAGEMENT 

1316 Sherman Ave. #215 

Evanston, IL 60201 

847-424-2000 

E-mail: awareinfo@awaremusic.com 

Web: www.asquaredmgmt.com 

Styles: S/S, acoustic, folk, rock 

Clients: Mat Kearney, Brandi 

Carlile, A Rocket To The Moon, 

Mayday Parade, Cary Brothers, 

Jason Lehning (Producer/Mixer), 

Kristen May 


ASTI ARTIST MANAGEMENT, 

LLC 

212-529-6400, 212-529-9315 

E-mail: kristi@astientertainment.com 

Contact: Kristi Clifford 

Styles: rap, hip-hop, pop, rock 

Clients: Kid Capri, Styles P, Camp 

Lo, Peter Rose, Republic of Loose, 

Technician the DJ, DJ K2 (aka 

Kellen Winslow, Jr.) 


AZOFF MUSIC MANAGEMENT 

1100 Glendon Ave., Ste. 2000 


310-209-3100 

Styles: All 


ELLEN AZORIN, MANAGER, 

PEDRO GIRAUDO JAZZ 

ORCHESTRA 

157 W. 79th St., Ste. 4A 


212-724-2400 

E-mail: ellenazorin@gmail.com 




Web: www.pedrogiraudo. 

com, http://fb.com/group. 

php?gid=58039828477&ref=ts 

Styles: Jazz 

Client: Pedro Giraudo Jazz 

Orchestra 

*Accepts unsolicted material 

BACKSTAGE ENTERTAINMENT 

5018 Franklin Pike 


310-325-9997 

E-mail: staff@backstage 

entertainment.net 

Web: www.backstage 

entertainment.net 

Contact: Paul Loggins, John 

Stevens, Laurent Stoeckli 

Styles: All 

Services: full-service radio 

promotion, publicity & PR, radio 

programming/consulting, personal 

management, entertainment 

consulting/marketing 


BANDGURU MANAGEMENT 

P.O. Box 11192 

Denver, CO 80211 

303-477-6987 Fax 303-561-1496 

Web: bandguru.com 

E-mail: mark@bandguru.com 

Contact: Mark Bliesener 

Styles: All Styles 

Clients: The Third Degree, Baxter 

Black, Ronny cox, Highway 101, 

Nitty Gritty Dirt Band 


BBA MANAGEMENT & BOOKING 

12400 Hwy. 71 W., Ste. 350-177 

Austin, TX 78738 

512-477-7777 

E-mail: info@bbabooking.com 

Web: www.bbabooking.com 

Contact: Laura Mordecai 

Styles: rock, jazz 

Clients: Matt Wilson, Robert ‘Beto’ 

Skiles, Beto and the Fairlanes 

Services: specializes in placing 

musicians for recording sessions & 

back up for touring acts, must read 

sheet music 


BEAR CREEK PRODUCER 

MANAGEMENT 

6313 Maltby Rd. 

Woodinville, WA 98072 

425-481-4100 Fax 425-486-2718 

E-mail: mannyhadlock@hotmail.com 

Web: www.bearcreekstudio.com 

Contact: Manny Hadlock 

Styles: intelligent rock, indie rock, 

rock nervous, folk, renaissance, 

rock, jazz 

Clients: Gordon Raphael, Ryan 

Hadlock, Holy Ghost Revival, Sony 

Records, Sub Pop, Vertigo, Warner, 

Transgressive 


BEDLAM MUSIC MANAGEMENT 

550 Queen St. E. Ste. 310 

Toronto, ON M5A 1V2 

416-585-7885 Fax 905-248-3195 

E-mail: info@bedlammusicmgt. 

com 

Web: www.bedlammusicmgt.com 

Clients: Alexisonfire, Chains of 

Love, City and Colour, Dinosaur 

Bones, Doldlrums, Moneen, 

Monster Truck, The Sheepdogs 

BIG HASSLE MANAGEMENT 

244 E. Durham St. 

Philadelphia, PA 19119 

917-670-6023 Cell 215-248-2064 

E-mail: maska@bighassle.com 

Contact: Michael Maska 

Styles: alt., indie, rock, pop 

Clients: Joe Jackson, Jennifer 

Clarke 


BIG NOISE 

11 S Angell St., Ste. 336 

Providence, RI 02906 

401-274-4770 

E-mail: algomes@bignoisenow.com 

Web: www.bignoisenow.com 

Contact: Al Gomes 

Styles: pop, rock, R&B, metal, 

jazz, acoustic, blues, punk, techno 

Clients: Christina Aguilera, 

Katharine McPhee, Alice Cooper, 

Little Anthony & the Imperials, Jay 

Geils, Jim Brickman, Melba Moore 

*Accepts unsolicited material - 

please call or e-mail first. 

BITCHIN ENTERTAINMENT 

1750 Collard Valley Rd. 

Cedartown, GA 30125 

678-901-0162 

E-mail: ty@bitchinentertainment.com 

Web: www.bitchinentertainment.com 

Styles: rock, pop, hip-hop, 

americana, country, R&B, jazz, 

punk, metal, rap, folk, s/s 

Clients: Karma, State Of Man, 

Blasternaut, Niki Barr, Baby 

Strange, Matt O’Ree, One Day Left, 

Josh Roy Brown, Donal Hinely, 

SUN, Gentry Morris, Lost Tricks, 

Jon Robert, Lost Tricks 


BLACK DOT MANAGEMENT 

6820 La Tijera Blvd., Ste. 117 


310-568-9091 Fax 323-777-8169 

E-mail: info@blkdot.com 

Web: www.blkdot.com 

Contact: Raymond A. Shields, Pat 

Shields 

Clients: producers, engineers, 

marketing, production 

Styles: R&B, jazz, urban adult 

contemporary 

Services: personal management, 

marketing 


BLACK ROSE 

409 Rte. 112 

Port Jefferson Station, NY 11776 

631-509-0449 

E-mail: admin@blackrose 

productions.com 

Web: www.blackrosemusicpub.com 

Styles: jazz, rock, R&B, gospel, 

hip-hop, country, blues, pop 

Clients: Conan Horn Section, 

Black Rose Band, Organic Sound 

Project, Chris Patti of Modern 

Voices, IndiMusicTV, John 

Pandalfo, Roger Evans, Tito Batista 

featured on vocals with Conan 

Horn Section and Black Rose Band 



15 Gloria Ln. 

Fairfield, NJ 07004 

631-367-8544, 973-575-7460 

BLAST! MANAGEMENT 


323-857-7299 

E-mail: blastmusic1@yahoo.com 

Web: www.blastmanagement.com 

Styles: record producers, mixers, 

songwriters, film/tv composers 

BLISS ARTIST MANAGEMENT 

P.O. Box 5011 

Laurel, MD 20726 

888-608-5936 

E-mail: bliss51@onebox.com 

Web: www.blissartistmgt.com 

Contact: Jennifer M 

Styles: urban, gospel, rock, blues, 

jazz, hip-hop 

Clients: DJ Sir Jamm, NexXzit 

Band, Tabbo and Tox Burner 

*Please view website for 

submission policy 

BOB BENJAMIN MANAGEMENT 

201 S. 2nd Ave., Ste. 22 

Highland Park, NJ 08904 

732-249-3911 Fax 732-249-3715 

E-mail: njbob113@aol.com 

Contact: Bob Benjamin 

Styles: Rock 

Clients: Joe Grushecky, Joe 

D’Urso, Dawne Alynne 


BORMAN ENTERTAINMENT 

1250 Sixth St., Ste. 401 

Santa Monica, CA 90401 

310-656-3150 Fax 310-656-3160 

Contact: Gary Borman 

Clients: Keith Urban, Lady 

Antebellum, Alison Krauss, 

Michael Franti 

Styles: All 

Services: Personal management 


BRENT MUSIC MANAGEMENT 

(submission address) 

14431 Ventura Blvd., #306 

Sherman Oaks, CA 91423 

818-535-6696 

Contact: Bobby Brent, Elysia Skye 

Styles: All styles - always looking 

for outstanding songs 


contract negotiations, deal 

shopping, consulting, music and 

video productions 


call first 

*Not accepting rap or hip-hop at 

this time 

BRICK WALL MANAGEMENT 

39 W. 32nd St., Ste. 1403 


212-501-0748 Fax 212-268-3544 

E-mail: bwmgmt@brickwallmgmt.com 

Web: www.brickwallmgmt.com 

Contact: Michael Solomon & 

Rishon Blumberg 

Styles: pop, rock, country, singersongwriter 

Clients: Charlie Mars, Cherry 

Poppin’ Daddies, The Clarks, 

Josh Franer, Lonesome Animals, 

Marshall Altman, The Spring 

Standards, William Fitsimmons 


BRILLIANT PRODUCTIONS 

Decatur, GA 30030 

404-373-2299 

E-mail: npegel@mindspring.com 

Web: www.brilliant-productions.com 

Contact: Nancy Lewis-Pegel 

Styles: roots, rock, jam, 

americana, blues 

Clients: Webb Wilder, Geoff 

Achison, Yonrico Scott, Randall 

Bramblett, David Gans, Peter Karp, 

Sue Foley, Yonrico Scott Band 

Services: A boutique agency 

that gives personal attention to 

musicians 


BROKAW COMPANY, THE 



310-273-2060 Fax 310-276-4037 

E-mail: brokawc@aol.com, db@ 

brokawcompany.com 

Web: www.brokawcompany.com 

Contact: David Brokaw, Joel 

Brokaw, Sanford Brokaw 

Styles: All 

Services: Full service 


BULLETPROOF ARTIST 

MANAGEMENT & BOOKING 

241 Main St. 

Easthampton, MA 01027 

413-527-9393 

E-mail: patty@bulletproofartists.com 

Web: www.bulletproofartists.com 

Contact: Patty Romanoff 

Styles: folk, pop, rock, country 

Clients: Nerissa & Katryna Nields 


BURGESS WORLD CO 

P.O. Box 646 

Mayo, MD 21106 

410-798-7798 

E-mail: rjb@burgessworldco.com 

Web: www.burgessworldco.com 

Contact: Richard James Burgess 

Styles: rock, alt., singer songwriter, 

blues, jazz 

Clients: Jimmie’s Chicken Shack, 

Ace Elijah, The Electrofied Blues 

Band 


BUSYBOY PRODUCTIONS 

3211 Webster Ave. S. 

St. Louis Park, MN 55416 

651-230-4362 612-454-7311 

E-mail: info@busyboyproductions.com 

Web: www.busyboyproductions.com 

Contact: Jack Paar 

Styles: rock, pop, country, alt. 

Clients: Michelle Ella Reid, 

Lorenzo, Lizzy Borden, White Lion, 

Gin Blossoms, Anita Baker 


CANTILLON 

Thousand Oaks, CA 91360 

310-734-6527, 310-734-6882 

E-mail: info@cantillon.com 

March 2013 

www.musicconnection.com 

57



Web: http://cantillonentertainment.com 

Contact: Jimmy, Kevin, Kate, 

Bjorn, Adam 

Styles: rock, indie, alternative, pop, 

country, funk, hip-hop, rap 

Clients: E-mail for full roster 

CAPITOL MANAGEMENT 

GROUP 

330 Franklin Rd. 

Brentwood, TN 37027-3282 

800-767-4984 (toll free) 

615-321-0600 

Fax 615-338-4497 

E-mail: robertmetzgar@aol.com 

Web: www.capitolmanagement.com 

Contact: Robert Metzgar 

Styles: pop, country, bluegrass, 

gospel, ccm, Americana, rock, 

jazz/R&B traditional 

Clients: Jessica Alba, Gina 

Carrano, Smokey River Boys, 

Stampede, Bone Creek, Jessica 

Hawthorn, Ali Shumate, Deep 

River, Rebeccca Frederick, Andie 

Blackwood, Heartland, Cher 

Lynn Bragg, Tracy Lynn Cash, 

Heartland, Larry Orrell, Ricky 

Emanuel Brown, SONY/ATV 

Songs LLC (BMI) Walt Disney 

Music (ASCAP) Club Platinum 

Music/UMG 


CASE ENTERTAINMENT 

GROUP, INC. 

102 E. Pikes Peak Ave., Ste. 200 

Colorado Springs, CO 

719-632-0227, Fax 719-634-2274 

E-mail: rac@crlr.net 

Web: www.newpants.com, 

www.oldpants.com 

Contact: Robert Case 

Clients: Silence, Lisa Bigwood, 

C. Lee Clarke, Kathy Watson, 

Todd Harris, Sherwen Greenwood, 

Harley Krishna, Chad Steele, 

James Becker, Stephanie 

Aramburo, Rocky Shaw, John Ellis 

Styles: pop, rock, country 


record promotion 


CEC MANAGEMENT 

130 West 29th St., 4th Fl. 


212-206-6765 

E-mail: alan@cecmgmt.com 

Contact: Alan Wolmark 

Styles: pop, rock, alt., jazz 

Clients: Ben Folds, Peter Murphy 


CELEBRITY ENTERPRISES 

New Mexico 

800-700-3898, 505-281-1149 

Fax 505-281-7134 

E-mail: lisa@ent123.com 

Web: www.ent123.com 

Contact: Lisa de Wolf 

Styles: Big Band, Current 

Broadway, Mainstream 

Clients: The Pink Flamingos, The 

3 Painters, Frank, Liza, Sammy- 

The Ultimate Concert 



Minneapolis, MN 

888-746-2731, 952-935-0445 

E-mail: gordy@pipelineartists.com 

Contact: Gordy Singer 

Las Vegas, NV 

702-425-4220 

E-mail: gaelan@ent123.com 

Contact: Gaelan de Wolf 

CHAPMAN MANAGEMENT 

14011 Ventura Blvd. #405 


818-788-9577 Fax 818-788-9525 

Web: http://chapman 

management.com 

E-mail: info@chapman 


Styles: contemporary smooth jazz 

Clients: Rick Braun, Richard Elliot, 

Gerald Albright, Mindi Abair, David 

Benoit, Jeff Golub, Euge Groove, 

Jeff Lorber, Al Stewart, Peter White 

*no unsolicited material 

CLASS ACT PRODUCTIONS / 

PETER KIMMEL’S MUSIC 

CATALOG 

P.O. Box 55252 

Sherman Oaks, CA 91413-0252 

818-980-1039 Fax 801-912-4533 

E-mail: peter.kimmel@sbcglobal.net 

Contact: Peter Kimmel 

Styles: All 

Services: Professional Music 

Licensing; Personal Management 

*Call for approval before sending 

material 

CLM MANAGEMENT 

P.O. Box 1877, 

Burbank, CA, 90517 

E-mail: bandbiz@sbcglobal.net. 

Styles: All 


management consultations, 

music production, video access, 

and photo staging 

*Accepts unsolicited material. 

COAST TO COAST MUSIC, 

ARTIST DEVELOPMENT, 

BOOKING AND PROMOTION 

P.O. Box 18334 

Encino, CA 91416 

818-376-1380 

E-mail: ccmusicbooking@yahoo.com 

Web: www.positivemusic 

programs.com 

Contact: Chris Fletcher 

Clients: Harold Payne, Faith 

Rivera, Gravity, LNE 

Styles: All 

Services: Management, 

Promotions and Booking expert 

*e-mail for permission to send your 

materials 

COLLIN ARTISTS 

Pasadena, CA, CA 91104 

323-467-4702 

E-mail: collinartists@gmail.com 

Web: www.collinartists.com 

Contact: Barbara Collin, Robert 

Sax, Goh Kurosawa 

Clients: Mary Stallings, Carmen 

Lundy, Charmaine Clamor, Thelma 

Jones, Jackie Ryan, Annie Sellick, 

Bonnie Bowden, Amber Weekes, 

Kevin Mahogany, Andy Bey, Dori 

Caymmi, Mon David, Sam Harris, 

Mr. Z, Nat Adderley, Jr. Maiden 

Voyage, Pete Escovedo, Susie 

Hansen Latin Jazz Band, The 

Impressions, Ray Bailey, The 

Langston Huges Project 

Styles: jazz, blues, world, Latin, 

R&B, doo wop/classics and beyond 

Services: Management, promotion, 

consulting, booking, workshops 


COLUMBIA ARTIST 

MANAGEMENT, LLC 

1790 Broadway 


212-841-9500 

E-mail: info@cami.com 

Web: www.cami.com 

Contact: Tim Fox 

Styles: instrumental, classical, 

jazz, world, celtic, vocalists 

Services: one of the world’s largest 

Classical music management firms 


COOKMAN INTERNATIONAL 

10627 Burbank Blvd. 

N. Hollywood, CA 91601 

818-763-1397 

E-mail: info@cookman.com 

Web: www.cookman.com 

Contact: Tomas Cookman 

Styles: Latin, alt., rock, pop 

Clients: Fabulosos Cadillacs, Manu 

Chao, Ozomatli, Mexican Institute of 

Sound, Bostich & Fussible, Pacha 

Massive, Tom Tom Club 


CORE ENTERTAINMENT 

ORGANIZATION 

14724 Ventura Blvd. Penthouse 


818-986-9680 

E-mail: info@coreentertainment.biz 

Web: www.coreentertainment.biz 

Contact: Bill Siddons,Toni Profera 

Clients: Jerry Cantrell, Alice 

in Chains, Elayne Boosler, Fu 

Manchu, KMFDM, Stabbing 

Westward, Jonathan Butler, Pat 

Benatar, Jackson Browne, David 

Crosby, Crosby Stills & Nash, 

Graham Nash, Van Morrison, 

Robert Palmer, Poco, John 

Klemmer, Sparks, the Doors 

Styles: rock, pop, film/tv 



CORNERSTONE MANAGEMENT 


213-217-4500 

E-mail: info@ 

cornerstonepromotion.com 

Web: www.cornerstone 

promotion.com 



London 

+44 208 962 1440 

New York 

71 W. 23rd St., 13 Fl. 


212-741-7100 

COUNTDOWN ENTERTAINMENT 

110 W. 26th St., 3rd Fl. 


212-645-3068 

E-mail: lovie@countdown 

entertainment.com 

Web: www. 

countdownentertainment.com 

Contact: James Citkovic 

Styles: urban, hip-hop, pop, rock, 

country, alt., dance, club, DJ 

*Accepts unsolicited material, see 

site for submission details 

COURTRIGHT MANAGEMENT INC. 

201 E. 87th St., Ste. 20C 


212-410-9055 

E-mail: CourtrightMgmt@gmail.com 

Contact: Hernando Courtright 

CREAMER MANAGEMENT 

32 Oak Sq. Ave. 

Brighton, MA 02135 

617-783-6308 Cell 617-780-5295 

E-mail: creamermgt@gmail.com 

Contact: Michael Creamer 

Styles: rock, alt., pop, s/s 

Clients: Superdrag, Kim Taylor, 

Todd Thibaud, Kay Hanley, 

Oteil Burbridge, Letter To Cleo, 

Cassavettes, John Davis 


CROSS ROAD MANAGEMENT 

45 W. 11th St., Ste. 7B 


212-807-1509 Fax 718-504-7899 

E-mail: dkahn@ 

crossroadmanagement.com 

Contact: Danny Kahn 

Styles: Americana, pop, jazz, world 

Clients: Rosanne Cash, Ben 

Vaughn, The Jazz Passengers 


CRUSH MANAGEMENT 

60-62 E. 11th St., 7th Fl. 


212-334-4446 Fax 212-334-0050 

E-mail: info@crushmm.com 

Web: www.crushmm.com 

Styles: Rock, Pop, Indie, 

Hip-Hop, S/S, Punk 

Clients: Butch Walker, Fall Out 

Boy, Panic at the Disco, Gym Class 

Heroes, Cobra Starship, Black Cards, 

Courtney Love/Hole, Fountains 

of Wayne, Four Year Strong, Matt 

Nathanson, New Politics, Panic! At 

the Disco, Patrick Stump, SIA, Train, 

Travie McCoy, Lolo 


CUERVO MANAGEMENT 

4924 Balboa Blvd., Ste. 485 


951-225-8804 

E-mail: cuervomgt@yahoo.com 

Contact: Javier Willis 

Styles: all types of Latin 

and world music 

Clients: Sergio Arau, Cristian 

Castro, Marisela, Forbidden 

Saints, Agina Alvarez, Victor 

Espinola, Pepe Aguilar (Booking- 

USA) 

CURTIS MANAGEMENT 

1900 S. Corgiat Dr. 

Seattle, WA 98108 

800-724-8038, 206-447-1819 

Fax 206-447-1848 

E-mail: info@curtismanage.com 

Contact: Kelly Curtis 

Clients: Pearl Jam 

DALE MORRIS & ASSOCIATES 

MORRIS ARTIST MANAGEMENT 

818 19th Ave. S. 




March 2013 


59




615-327-3400 

Web: www.dalemorrismgt.com 

Contact: Tiffany Benken 

Styles: Country 

Clients: Kenny Chesney, Martina 

McBride, Louise Mandrell, Big and 

Rich, Blaine Larsen, Jake Owen, 

Andy Gibson 


DAS COMMUNICATIONS 

83 Riverside Dr. 


212-877-0400 Fax 212-595-0176 

Styles: rock, pop, hip-hop 

Clients: Black Eyed Peas, Fergie, 

Jim Steinman, Carney, Spin 

Doctors, Toby Gad, The Veronicas, 

Taylor Momsen & The Pretty 

Reckless, Jessica Jarell, Sean 

Paul, Prince Royce, Katy Tiz, 

The Lone Bellow, Connor Cruise, 

MNDR 


DAVE KAPLAN MANAGEMENT 

1126 S. Coast Hwy. 101 

Encinitas, CA 92024 

760-944-8800 Fax 760-944-7808 

E-mail: scott@surfdog.com 

Web: www.surfdog.com 

Contact: Nola Schoder 

Style: Rock 

Clients: Brian Setzer, Stray Cats, 

Dave Stewart, Glen Campbell, 

Joss Stone, Gary Hoey, Dan Hicks, 

Rusty Slightly Stoopid. Dan Hicks, 

The Burning of Rome, Butthole 

Surfers, Pato Banton, Richard 

Cheese, Mom 

*We accept all unsolicited materials 

DAVID BENDETT ARTISTS 

2431 Briarcrest Rd. 


310-278-5657 

Contact: David Bendett 

Styles: rock, pop, bluegrass, jazz 

Clients: Bela Fleck, John 

Sebastian 


DAWN ELDER MANAGEMENT 

303 Loma Alta Dr., Ste. 31 

Santa Barbara, CA 93109 

805-963-2415 

Fax 805-965-4075 

Global: 805-637-1178 

E-mail: demgmt@aol.com 

Web: www.demgmt.com 

Contact: Dawn Elder 

Styles: world, rock, pop, jazz, 

roots, traditional, classical, 

international, Central-South Asian 

underground, Middle Eastern, 

North African, Mediterranean 

Clients: Souad Massi, Simon 

Shaheen & Arab Orchestra, 

Simon Shaheen & Near Eastern 

Ensemble, Simon Shaheen & 

Qantara, Bassam Saba, Kadim Al 

Sahir, Cheb, Sabbah & 1002 Nights 

and many more. 

Services: specializing in Middle 

Eastern, Central & South Asian, 

North African, West African & 

Mediterranean 


DCA PRODUCTIONS 

676A 9th Ave., Ste. 252 


800-659-2063, 212-245-2063 Fax 

609-259-8260 

E-mail: info@dcaproductions.com 

Web: www.dcaproductions.com 

Contact: Daniel C. Abrahamsen 

Styles: pop, folk, rock 

Clients: Andjam Band, Backbeat 

A Tribute, Alison Fraser, Fiesta, 

Rockspolsion, Lisa Bouchelle, 

Vladimir & Nadia Zaitsev, Acrobats 

of Cirquetacular, 

Services: variety performers, 

comedians, musical performers, 

theatre productions, 

and producing live events 


DEEP SOUTH ENTERTAINMENT 

P.O. Box 17737 

Raleigh, NC 27619 

919-844-1515 Fax 919-847-5922 

E-mail: info@deepsouth 


Web: www.deepsouth 


Contact: Steve Williams 

Styles: pop, rock, alt., country, 

Americana, AC, Christian 

Clients: Marcy Playground, Vienna 

Teng, Tres Chicas, Parmalee, I 

Was Totally Destroying It, Young 

Cardinals, Michael Sweet 

*Accepts unsolicited material. 

**Please NO CALLS 

DEF RO INC. 

33 Prospect St. Ste. 1R 

Boomfield, NJ 07003 

973-200-8247 

E-mail: defroinc@msn.com 

Web: www.members.tripod. 

com/~sirRO/index.html 

Contact: Ro Smith 

Styles: R&B, Hip-Hop, Pop 

Clients: Mary J. Blige 

*Accepts unsolicited material—NO 

CALLS 

DENNY BRUCE MANAGEMENT 

& PRODUCTIONS 

Burbank, CA 

E-mail: dbrucemgt@aol.com 

Contact: Denny Bruce 

Styles: veteran artists only 


production, publishing, label 

consultant 


DIRECT MANAGEMENT GROUP 

947 N. La Cienega Blvd., Ste. G 


310-854-3535 

E-mail: info@directmanagement.com 

Web: www.directmanagement.com 

Clients: The Go-Go’s, K.D. Lang, 

Adam Lambert 

Styles: All 



DONALD MILLER MANAGEMENT 

12746 Kling St. 

Studio City, CA 91604 

818-506-8356 Fax 818-980-6888 

Contact: Donald Miller 

Clients: Jackson Browne, Joel 

Rafael, Crosby, Stills & Nash (and 

solo acts) 

Styles: All 



DREAMCATCHER 

ENTERTAINMENT 

2910 Poston Ave. 


615-210-2270 

E-mail: jmazza@ 

dreamcatchermgmt.com 

Web: www.dreamcatchermgmt.com 

Contact: Jim Mazza 



EAST END MANAGEMENT 

13721 Ventura Blvd., 2nd Fl. 


818-784-9002 Fax 818-784-9027 

Contact: Tony Dimitriades 

Styles: rock, pop 

Clients: Billy Idol, Tom Petty & the 

Heartbreakers, Regina Spektor 


EGM 

1040 Mariposa St., Ste. 200 

San Francisco, CA 94107 

415-522-5292 Fax 415-522-5293 

Contact: Eric Godtland 

Styles: All Styles Of Rock 

Clients: Denny Porter 

* Accepts unsolicited material 

ELEVATION GROUP 

1408 Encinal Ave., Ste. A 

Alameda, CA 94501 

510-530-2600 

E-mail: info@elevationgroup.net 

Web: www.elevationgroup.net 

Contact: Kent Sorrell 

Clients: Aaron Neville, Funky 

Meters, Neville Brothers, the New 

Mastersounds, The Technicolors 

Styles: All 



ELLIOT CAHN MANAGEMENT 

1035 7th St. 

Oakland, CA 94607 

510-652-1615 Fax 510-550-2770 

E-mail: cahnman@aol.com 

Web: www.elliotcahn.com 

Contact: Elliot Cahn 

Clients: Goapele, Justin King 

Styles: All styles 



EMCEE ARTIST MANAGEMENT 

189 Franklin St., Ste. 294 

New York, NY 10013212-925-6458 

Fax 212-925-6482 

E-mail: liz@emceeartist.com 

Styles: Jazz, Rock, Blues 

Clients: Medeski Martin & Wood, 

The Wood Brothers, Piers Faccini, 

John Medeski, Wicked Knee 


EMPIRE ARTIST MANAGEMENT 

235 W. 23rd St., 6th Fl. 


212-343-9383 Fax 212-343-9429 

E-mail: info@ultrarecords.com 

Web: www.ultrarecords.com 

Contact: Above & Beyond, Benny 

Benassi, Bloody Beetroots, 

Kaskade, Steve Aoki, Wolfgang 

Gartner 

Styles: Electronica, Club, Techno 


ENCOURAGEANAIRE.COM 

1845 Lee Street 


754-204-4758 cell/text 

E-mail: encourageanaire@gmail.com 

Web: www.Encourageanaire.com 

Contact: “The Encourageanaire” 

Acts 11 

Clients: West Coast: Mark 

Samuel, Philip Herbst, Michael 

Darby/I Have A Friend Who... 

(michaeldarbyandsmile.tv), Johnny 

Kim/Glamourocke Records & Films, 

Mike Okri, Mike Shih/DJ ONE, 

Bardi Rahimzadeh/TRUEHONOR. 

com (Fashion Extreme Sports) 

and EM3Productionz.com 

(ASCAP). East Coast: Dave 

Tough Productions (BMI), Day 

the Untouchable (ASCAP), Dan 

Norris (BMI), Jeremy Stewart, 

Alfonso Fernandez (Film/ 

TV), Robert P. Wallman (Poet), 

Nathan S. Davidson (Writer)/ 

Love At The End Of The Tunnel, 

Mostiky, Jairzinho Grant/Royal 

Thunder Records (BMI), Scott 

E. Ebeling/SoulsofEternity. 

com, Gracecafeandgalleries. 

com-Dania Beach, Alex Grafton- 

Singer Songwriter, JC The Lion of 

Judah, Paul Balbuena (Film/TV), 

Kentosbourne.com, Corey Rowe 

and KAIROS (ASCAP) 

Styles: Embraces All Creativity 

Services: personal and positive 

artist management/A&R/media/ 

public relations/getworking/ 

brand licensing/niche marketing/ 

mentoring 

*Open to receive Polished 

Submissions to include demos, 

press kits and bios. 

ENTERTAINMENT 

SERVICES INT’L 

6400 Pleasant Park Dr. 

Chanhassen, MN 55317 

952-470-9000 Fax 952-474-4449 

E-mail: randy@esientertainment.com 

Web: www.esientertainment.com 

Contact: Randy Erwin 

Styles: Rock, Classic Rock 

Clients: The Nylons, Ben E. King, 

Brewer & Shipley, Carl Dixon, the 

Guess Who, Humble Pie, Iron 

Butterfly, Mitch Ryder & The Detroit 

Wheels, Otis Day & the Knights, 

the Ozark Mountain Daredevils, 

the Rembrandts, Sass Jordan, the 

Steve Augeri Band, Thunderstruck 

ERIC NORWITZ ARTIST 

MANAGEMENT 

3333 W. 2nd St., Ste. 52-214 

Los Angeles, CA 90004-6149 

213-389-3477 

E-mail: enorwitz@pacbell.net 

Contact: Eric Norwitz 

Styles: alt., dance, pop, R&B, rock 

Services: management & legal 


ESP MANAGEMENT INC. 

P.O. Box 505 

Millwood, NY 10546 

212-765-8450 

Contact: Bud Prager 

Styles: All 



EYE FOR TALENT, INC. 

1139 San Carlos Ave., Ste 310 

San Carlos, CA 94070 




650-595-2274 Fax 650-585-6810 

E-mail: staff@eyefortalent.com 

Web: www.eyefortalent.com 

Contact: Bill Smith 

Styles: World, Jazz 

Services: Personal management & 

agents 

Clients: Feufollet, Hermeto 

Pascoal, Huun Huur Tu, Le Mystere 

Des Boix Bulgares, Les Yeux Noirs, 

Paris Combo, Quetzal, Vagabond 

Opera and more. See website for 

complete roster 


FIRST ARTISTS MANAGEMENT 

4764 Park Granada, Ste. 210 

Calabasas, CA 91302 

818-377-7750 Fax 818-377-7760 

E-mail: fam-info@firstartistsmgmt.com 

Styles: film, S/S 

Clients: film composers, music 

supervisors, music editors 


FITZGERALD HARTLEY 

COMPANY, THE 

34 N. Palm St., Ste. 100 

Ventura, CA 93001 

805-641-6441 Fax 805-641-6444 

E-mail: Anita@fitzhart.com 

Web: www.fitzhart.com 

Contact: Anita Heilig 

Styles: Country, pop, rock 

Clients: Rey Fresco, 2 Cents, 

Sunny Sweeney, Brent Anderson, 

Colbie Caillat, Big Bad Voodoo 

Daddy, Brad Paisley, Olivia 

Newton-John, Radney Foster, 

the Robert Cray Band, Vince Gill, 

Kellie Pickler, Josh Golden, Randy 

Houser, David Stewart, Orianthi 


FLEMING ARTISTS, INC. 

543 N. Main St. 

Ann Arbor, MI 48104 

734-995-9066 Fax 734-662-6502 

E-mail: jim@flemingartists.com 

Web: www.flemingartists.com 

Contact: Jim Fleming 

Styles: rock, pop, s/s, 

contemporary roots rock, folk, 

bluegrass, improv comedy 

Clients: Ani DiFranco, Antje 

Duvekot, Ari Hest, Baskery, Brian 

Vander Ark, Capitol Steps, Caravan 

of Thieves, Cheryl Wheeler, Connie 

Kaldor, Damien Dempsey, Dan 

Bern, Dougie MacLean, Eddie 

From Ohio, Ellis Paul, Enter the 

Haggis, Garnet Rogers, Glen 

Phillips, Grant-Lee Buffalo, Gregory 

Alan Isakov, Hoots & Hellmouth, 

Jane Siberry, Jeff Daniels, Krista 

Detor, Lucy Kaplansky, Martyn 

Joseph, Mountain Stage Radio 

Show, Peter Mulvey, Po’Girl, 

Richard Shindell, Robbie Schaefer, 

Ryan Montbleau Band, The 

Guggenheim Grotto, The Second 

City, The Verve Pipe, Toad the 

Wet Sprocket, Tom Paxton, Tony 

Furtado, Umphrey’s McGee, Willy 

Porter, WPA–Works Progress 

Administration 

FRESH FLAVA ENTERTAINMENT 

2705 12th St. N.E. 

Washington, DC 20018 

202-832-7979 

E-mail: freshflava1@aol.com 

Web: www.freshflava.com 

Contact: Emanuel Maurice ‘Moe’ 

Yeoman 

Styles: hip-hop, R&B, 

jazz, gospel, rock 

Clients: Elliot Lavine, Tabbo, DJ 

Sir Jamm 


FUZED MUSIC 

P.O. Box 19436 


206-352-6892 Fax 206-374-2429 

E-mail: info@fuzedmusic.com 

Web: www.fuzedmusic.com 

Contact: Grady Chapman 

Styles: alt., folk, rock, hip-hop 

Clients: Blue Scholars, Common 

Market, the Presidents Of the 

United States of America 

*Not currently accepting 

submissions 

GARVAN MEDIA, MANAGEMENT 

& MARKETING 

P.O. Box 737 

Sandpoint, ID 83864 

208-265-1718 Fax 208-265-7296 

E-mail: steve@garvan 


Web: www.immf.com, 

www.mmfus.com 

Contact: Stephen Bond Garvan 

(formerly N.Y.C., Colorado, 

New England) 

Styles: rock, s/s, roots, country, 

Americana 

Clients: Big Wide Grin, Chris 

Daniels & the Kings, Katoorah 

Jayne, Michael Kelsh, Eleanor 

McEvoy (US/Canada) Lenou (US/ 

Canada), Tom Roznowski, Beth 

Wood Advisory: Bob Rea, Chi 

Mclean, Cliff Eberhardt 

Advisory: Bob Rea, Chi Mclean, 

Cliff Eberhardt, Bianca DeLeon, 

Bridges Home 

GARY STAMLER MANAGEMENT 

P. O. Box 34575 


310-838-1995 

E-mail: garystamler@gsmgmt.net 

Web: www.gsmgmt.net 

Contacts: Gary Stamler, 

Nancy Sefton 

Clients: Lionel Neykov, Waltham, 

Tchad Blake, Kevin Booth, Sons of 

Midnight, Lynda Kay, Kevin Booth 

Styles: All 



GENUINE REPRESENTATION / 

GENUINE MUSIC GROUP 

11271 Ventura Blvd., Ste. 225 


E-mail: genuinerep@earthlink.net 

Web: www.genuinemusicgroup.com 

Styles: R&B, hip-hop, pop, pop rock 

Clients: Rob Chiarelli Final Mix, Will 

Smith, Janet Jackson, Kirk Franklin, 

Mary Mary, Christina Aguilera, 

Charlie Wilson, Pink, Madonna, 

Newboyz, Leann Rimes 

*Unsolicited material accepted 

*No phone calls please 

March 2013 


61

Download This Directory From Our Download Website This Directory at www.musicconnection.com/amp 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

GOLD MOUNTAIN ENTERTAINMENT 



818-508-2210 Fax 818-508-5120 

E-mail: info@gmemusic.com 

Web: gmemusic.com 

Contact: Ron Stone, Peter Wark, Jerrod 

Wilkins and Preeya Khanna 

Clients: Ray Davies, Rickie Lee Jones, New 

York Dolls, Joseph Arthur, John Waite, Nakia 

Styles: All 



GOLIATH ARTISTS 

151 Lafayette St. 

New York, NY 10012-3311 

212-324-2410 

Contact: Paul Rosenberg 

Styles: rap, hip-hop 

Clients: Eminem, Slaughterhouse, Yelawolf 


GOODMAN AND ASSOCIATES 

MANAGEMENT, MARKETING & PR 



818-760-6700 

E-mail: goodmanjoe@me.com 

Contact: Joseph L. Goodman 

Styles: rock, alt., pop 

Services: Full-service management, 

marketing, public relations 


LAURA GROVE 

8530 Holloway Dr., Ste. 328 


310-855-1631 Fax 310-657-7197 

E-mail: LDG@anet.net 

Contact: Laura Grover 

Styles: pop, rock 


HALFPIPE ENTERTAINMENT 

P.O. Box 10534 


310-651-6233 

E-mail: halfpipe_ent@sbcglobal.net 

Web: www.halfpipeentertainment.com 

Contact: Lee Scheinbaum 

Styles: alt., rock, indie, s/s, surf pop, electronic, 

lounge, remixes, psychedelic, hip hop, R&B, nu 

soul, jazz, underscores 

Clients: Jeff Martin, Greg Camp, Aidan 

Lavelle, the Newton Brothers, Ceiri Torjussen, 

Erik Godal, Tommy Coster, Christopher Faizi, 

Kiran Shahani, Scott Thomas, James Hall, 

Jaymay, Stefano Tomaselli, Contrella Patrick- 

Henry, Mark Tschanz, Chris Seefried, Trevor 

Shand, Mike Semple, Sean Hennessy, Kathie 

Talbot, Brian Rawlings, Colby Trane, Tom 

Carolan, Cathy Duncan 

*Accepts unsolicited material - web streaming 

audio submissions only, prefers soundcloud or 

similar. 

HARD HEAD MANAGEMENT 

P.O. Box 651 


212-337-0760 Fax 212-337-0708 

E-mail: info@hardhead.com 

Web: www.hardhead.com 

Contact: Stefani Scamardo 

Styles: rock, americana, s/s, electronica 

Clients: Gov’t Mule, Warren Haynes, DJ Logic, 

John Popper Project, Noba Echo 


HEADLINE TALENT 

1650 Broadway, Ste. 508 


212-581-6900 Fax 212-581-6906 

E-mail: glknight10@yahoo.com 

Styles: classic rock, oldies, soul, hip-hop, a 

cappella 

Clients: The Drifters, the Coasters, the Platters, 

the Dubs, the Marvelettes, the Persuasions 


HOFFMAN ENTERTAINMENT 

549 Borden Ave. Ste. 8G 

Long Island City, NY 11101 

212-765-2525 

Contact: Randy Hoffman 

Styles: R&B, rock, pop, country 

Clients: John Mellencamp, Hugo, Will Dailey, 

Carlene Carter 


HOWARD ROSEN PROMOTION, INC. 

1129 Maricopa Hwy, #238 

Ojai, CA 93023 

805-382-2200 Fax 805-201-7816 

E-mail: info@howiewood.com 

Web: www.howiewood.com 

Contact: Howard Rosen, Siri Rosen 

Clients: Paula Abdul, New Boyz, Stone Sour, 

Green Day, Jaicko, James Otto, Girl in a Coma, 

We the Kings 

Styles: All 

Services: Personal management, shop for 

distribution and record deals. Production and 

remix with major producers 


IMC ENTERTAINMENT GROUP, INC. 

19360 Rinaldi St., Ste. 217 

Porter Ranch, CA 91326 

818-700-9655 

E-mail: sr@imcentertainment.com 

Web: www.imcentertainment.com 

Contact: Sylvester Rivers 

Clients: Paul Riser, T. Renee 

Styles: pop, R&B 

Services: full service 


IMPACT ARTIST MANAGEMENT 

P.O.Box 1490 

Woodstock, NY 12498 

212-280-0800 

E-mail: info@impactarists.com 

Web: www.impactartist.com 

Styles: jazz, world, rock, pop, blues, R&B, folk, 

alt. country 

Clients: Gipsy Kings, Jon Cleary, Willie Nile 


IN DE GOOT ENTERTAINMENT 

119 W. 23rd St., Ste. 609 


212-924-7775 Fax 212-924-3242 

E-mail: tcouch@indegoot.com 

Web: www.indegoot.com 

Contact: Tony Couch 


Clients: 10 Years, Adelitas Way, Airborne, 

American Fangs, Anew Revolution, Black Stone 

Cherry, Chevelle, Dead Country, Emphatic, 

Halestrom, In This Moment, Kyng, Neon Trees, 

New Medicine, Nightmare & The Cat, the Parlor 

Mob, Robert Fenn, Sevendust, Shinedown, 

Story of The Year, Theory Of A Deadman 

*Accepts unsolicited material - Attn: Dave 

Bennett 

INTERNATIONAL CREATIVE MANAGEMENT 

(ICM) 

10250 Constellation Blvd. 


310-550-4000 

E-mail: slevine@icmtalent.com 

Web: www.icmtalent.com 

Contact: Steve Levine 


Download This This Directory at From www.musicconnection.com/amp 

Our Website 


Styles: dance, classical, jazz, folk, world, 

contemporary, R&B, hip-hop 


Additional Locations: 

730 Fifth Ave. 


212-556-5600 

3rd Floor, Marlborough House 

10 Earlham St. 

London, WC2H 9LN, England 

+44-0-20-7836-8564 

IN TOUCH ENTERTAINMENT 

309 West 55th St., Ste. 2B 


212-714-7722 Fax 212-202-7579 

E-mail: info@intouchhome.com 

Web: www.intouchhome.com 

Contact: Charles Carlini 


Clients: Tori Beaumont, Irene Cara, Michael 

Carvin, Brian Charette, David Chesky, Suzanne 

Ciani, Pino Daniele, Eumir Deodato, Eldar 

Djangirov, Mamma Freedom, George Garzone, 

Craig Handy 

*Accepts unsolicited material - via SonicBids only 

INTRIGUE MUSIC MANAGEMENT 

24 Preble St., 3rd Fl. 

Portland, ME 04101 

207-221-3311 

E-mail: staff@intriguegroup.com 

Web: www.intriguemusic.com 

Contact: Super Frank 


Clients: Patrick Watson & The Cinematic 

Orchestra, David J. Roch, James Brown, Holly 

Heist, David Web, Phil Bensen, Billy Libby, ericjon, 

Jody Joseph, Braille 


INVASION GROUP 

133 W. 25th St., 5th Fl. 


212-414-0505 Fax 212-414-0525 

E-mail: webinquiry@invasiongroup.com 

Web: www.invasiongroup.com 

Contact: Peter Casperson 

Styles: rock, world, folk, s/s 

Clients: Zach Deputy, Dawn Landes, The 

Bandana Splits, The Abrams Brothers, Caravan 

of Thieves, Gail Ann Dorsey, Jai Uttal, The 

Guggenheim Grotto, Robin Danar, Mark Wood, 

Scott Jacoby, Bill Laswell, Maiysha, Ryan 

Dahle, Silya 


IVORY DANIEL 

Regime Management 

105 W. Alameda Ave. #230 

Burbank, CA 91502 

818-841-3490 x7 Fax 818-841-1371 

E-mail: info@regimeinc.com 

Web: www.regimeinc.com 

Clients: Poncho Sanchez, Big B, B-Side 

Players, Brokencyde, Christian Scott, Dilated 

Peoples, Jason Ellis, DJ Babu, DJ Muggs, 

Everlast, Evidence, Glasses Malone, House 

of Pain, Jason Ellis, Madchild, Mest, Michey 

Avalon, Orgone, Quetzal, Rakaa, Red Light 

King, Slaine, Swollen Members, Unwritten Law, 

Vista Chino 

JACQUE SCHAULS 

2623 White Bear Ave. 

Maplewood, MN 55109 

612-508-7527 

E-mail: codagroovesinfo@gmail.com 

Web: www.codagroove 

sent.ning.com 

JAMES C. LEVESQUE 

Levesque Wilkinson Media Relations 

714-313-6303 

E-mail: james@lwmediarelations.com, info@ 

lwmediarelations.com 

JAMPOL ARTIST MANAGEMENT 

8899 Beverly Blvd., Ste. 812 

West Hollywood, CA 90048 

310-274-8471 

Web: www.wemanagelegends.com 

E-mail: assistant@jamincla.com 

Contact: Jeff Jampol 

Clients: The Doors, the Janis Joplin Estate, the 

Rick James Estate, the Peter Tosh Estate, the 

Jim Morrison Estate 

*Does not accept unsolicited material 

KAHN POWER PICTURES 

433 N. Camden Dr., Ste. 600 


310-980-8200, Fax 310-388-1159 

E-mail: iampower007@gmail.com 

Web: www.artists4film.com 

Styles: film/tv scores, composer/performer/ 

director representation 

Clients: Nancy Bishop, Stewart Copeland, 

Robert Dornhelm, Claudio Faeh, J. Petere 

Robinson, Peter Gloub, Mader, Michael 

Nyman, About Derek Power, About Ilene Power 


KALE HOLMES 

711 Medford Center #264 

Medford, OR 97504 

E-mail: kaleholmes@gmail.com 

Web: www.kaleholmes.com 

Contact: Kale Holmes 

Styles: rock, pop, metal, hardcore, indie, noise, 

post-punk, folk, Americana 

Clients: Norma Jean, From First to Last, Lisa 

Haley, Apex Theory, Dishwalla, Showbread, 

Savoy, Animal Alpha, Cog, Staple, Major 

Parkinson, Mira, The Cassanovas, Big Bang, 

Re:Ignition, Picketline, Cryptobiotic, Slap Shoe 

Fly, Nevercore, The Girlfriend Experience, 

Simon Stinger, Epitaph, Universal, Tooth and 

Nail, Solid State 

*Accepts unsolicited material. Please email first 

before mailing. 

KARI ESTRIN MANAGEMENT & 

CONSULTING 

P.O. Box 60232 


615-262-0883 

E-mail: kari@kariestrin.com 

Web: www.kariestrin.com 

Contact: Kari Estrin 

Styles: folk, Americana, AAA, roots 

Clients: David Llewellyn, Janis Ian, Tony 

Rice, Bluegrass/Newgrass legend, Suzanne 

Vega, Kanda Bonga Man, Papa Wemba, Kevin 

Brown, 3 Mustaphas 3 


KBH ENTERTAINMENT GROUP 

7646 Kester Ave. 

Van Nuys, CA 91405 

818-786-5994 

Contact: Brent Harvey 

E-mail: info@kbhentertainment.com 

Web: www.kbhentertainment.com 

Styles/Specialties: All styles, entertainment 

consulting, artist management, publicity, music 

placement/licensing and live 

event production 


KBM 

1459 Morton Pl. 


310-234-0280 Fax 310-234-0282 

!"#$%%#&"$'"&#()')* 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

March 2013 


63



E-mail: kbmgt@aol.com 

Contact: Brent Harris 

Clients: Poplyfe, Tony! Toni! Tone’!, 

Sounds of Blackness, Jamell 


KEN FRITZ ENT. 

4335 Van Nuys Blvd. #326 


310-301-9891 Fax 310-301-9893 

E-mail: thecat88@me.com 

Contact: Ken Fritz 

Clients: Indigo Blues (a 3 or 4 

character, two-act drama set in 

the rural South) 

Styles: All 


theatrical productions, Expert 

Witness Sevices 


KERMIT HENDERSON 

8343 Roswell Rd. #163 

Sandy Springs, GA 30350-2810 

216-276-1829 

E-mail: superstarmaker@gmail.com 

Web: www.wemakesuperstars.com 

Notes: We have received 150 plus 

Gold and Platinum Awards. Over 90 

No. 1 records 

KRAFT ENGEL MANAGEMENT 



818-380-1918 

E-mail: info@kraftengel.com 

Web: http://www.kraft-engel.com/ 

Contact: Richard Kraft 

Styles: Film Composers 


KRAGEN & COMPANY 

E-mail: info@kragenand 

company.com 

Web: www.kenkragen.com 

Contact: Ken Kragen 

Clients: Suzanne Whang, Ronn 

Lucas, the Smothers Brothers, J. 

Geils Band, Travis Tritt 

Styles: Comedy, Country, Adult 

Contemporary 


TV production 


KUPER PERSONAL 

MANAGEMENT/RECOVERY 

RECORDINGS 

515 Bomar St. 

Houston, TX 77006 

713-520-5791 

E-mail: info@recoveryrecordings.com 

Web: www.recoveryrecordings.com 

Contact: Koop Kuper 

Styles: folk, roots rock, Americana 

Clients: The Very Girls, David 

Rodriguez 


KURFIRST-BLACKWELL 

MANAGEMENT 

E-mail: info@kurfirstblackwellentertainment.com 

Web: www.kurfirstblackwellentertainment.com 

Styles: rock, alt., pop 

Clients: Live, Angelfish, A House, 

Big Audio Dynamite, Black 

Grapes, Cyclefly, Dig, Elysian 

Fields, The Heads, The Fatima 

Mansions, Noella Hutton, London 

Beat, Lulabox, Radio Iodine, The 

Ramones, Star 69, Traci Lords, 

Virtuosity, Ana Voog 


LAKE TRANSFER ARTIST 

MANAGEMENT 



818-508-7158 Fax 818-505-1811 

Email: info@laketransfer.com 

Web: www.laketransfer.com 

Contact: Steven B. Cohen, Jim 

Holvay, Tina Antoine 

Clients: Candyboy, Mari Y., 

Friends of Distinction, Evelyn 

Champagne King, Rose Royce, 

The Val Diamond, Band, Klymaxx, 

Sylvia St. James, Sheree Brown, El 

Debarge, Trina McGee (Boy Meets 

World), The Buckinghams, Dennis 

Tufano, The Brown Sound 

LAMONT PATTERSON 

4080 Paradise Rd. 

Las Vegas, NV 89169 

323-957-7322 Cell 213-792-4662 

Email: Lamont@ 

worldmovement.com 

Web: www.worldmovement.com 

Contact: Lamont Patterson 

Clients: Drew Raber, Rogon&Co, 

Kanya, Comedian Dewayne Dukes, 

Wylde Bunch, Beko, Coast Ridas, 

Michelle, Ghetto Hippie 

L.A. PERSONAL DEVELOPMENT 

See Yes, Dear Ent. 

LATIN MUSIC ARTISTS 

4131 W. Oquendo Rd. Ste. 3 

Las Vegas, NV 89118 

702-363-7273 

E-mail: info@latinmusicartists.com 

Web: www.latinmusicartists.com 

Styles: Latin 


LEN WEISMAN PERSONAL 

MANAGEMENT 

357 S Fairfax Ave., Ste. 430 


323-653-0693, 323-653-7670 

E-mail: parlirec@aol.com 

Web: www.parliamentrecords.com 

Contact: Len Weisman 

Styles: R&B, soul, blues, gospel, 

rap, soul, pop 

Clients: Jewel With Love, Chosen 

Gospel Recovery Singers, Winds 

Of Fate, Rapture 7, Chosen Gospel 

Singers, L’Nee, Sister Maxine West, 

TooMiraqulas (rapper), Winds of Fate 


LEONARD BUSINESS 

MANAGEMENT 

532 Colorado Ave., 2nd Fl. 


310-458-8860 

E-mail: info@lbmgt.com 

Web: leonardbusiness 


Contact: Jerry Leonard 

Clients: Call for roster 

Styles: All 

Services: Business management 

only 


LINC STAR 

P.O. Box 549 

Colts Neck, NJ 07722 

732-578-8493 

E-mail: johnd@lincstarrecords.com 

Web: http://www.lincstarrecords.com 

Contact: John D’Esposito, Mgr. 

*Does not accept unsolicited 

material 

LIPPMAN ENTERTAINMENT 

23586 Calabasas Rd., Ste. 208 


818-225-7480 Fax 818-225-7483 

E-mail: music@lippmanent.com 

Web: www.lippmanent.com 

Contact: Michael Lippman, 

Nick Lippman 

Clients: producers, artists, 

songwriters 

Styles: All 

Services: Full-service 


LLOYD SAX MANAGEMENT 

3021 Airport Ave., Ste. 101i 


310-572-0023 Fax 310-572-0043 

E-mail: lloydsax1@gmail.com 

Contact: Lloyd Sax 

Clients: Troy Burgess 

Styles: All 

Services: personal and business 

management 


LOGGINS PROMOTION 

5018 Franklin Pike 


Tel: 310-325-2800 

E-mail: staff@logginspromotion.com 

Web: www.logginspromotion.com 

Contact: Paul Loggins 

Services: Represents both major 

and independent artists. All genres. 

LOOKOUT MANAGEMENT 

1460 4th St., Ste. 300 


310-319-1331 Fax 310-319-5331 

E-mail: webstar@lookoutmgmt.com 

Web: N/A 

Contact: Elliott Roberts, Frank 

Gironda 

Styles: rock, alt. 

Clients: Neil Young, Stephen Stills, 

Mazzy Star, Love in the Circus 



LUCEDIO MUSIC 

12 First Ave. 

Westfield, MA 01085 

413-977-5282 

E-mail: lucediomusic666@gmail.com 

Contact: Jessika Norman 

Web: www.facebook.com/jessika. 

norman 

Styles: Extreme forms of Metal 

Clients: Hotile City Metal Fest 


LUPO ENTERTAINMENT 

725 River Rd., ste. 32-288 

Edgewater, NJ 07020 

E-mail: steve@lupomusic.com, 

nicklopiccolo@lupoentertainment. 

com 

Web: www.lupomusic.com 

Contact: Steve Corbin, Nick 

LoPiccolo 

Styles: rock, pop, R&B, country, 

hip-hop 

Clients: Jim Wilson, Megan 

McCallon, Lo-Star, Lauren Mayhew 

*Contact prior to sending material 


1905 Grace Ave. 


MAINE ROAD MANAGEMENT 

195 Chrystie, Ste. 901F 


212-979-9004 

E-mail: mailbox@ 

maineroadmanagement.com 

Web: www.maineroad 


Contact: David Whitehead 

Styles: rock, S/S, pop 

Clients: David Byrne, David Bowie, 

Helmet, Joe Henry, Laura Cantrell, 

Tyondai Braxton, Mimi Goese, 

Hugh Laurie, Red Baraat 


MAJOR BOB MUSIC 

1111 17th Ave. S. 


615-329-4150 

Web: www.majorbob.com 

Contact: Bob Doyle 

Styles: Country, Pop 

Clients: Garth Brooks, The Band 

Perry, John & Jacob, The Features, 

Dukes of Daville 


MANAGEMENT ARK 

116 Village Blvd., Ste. 200 

Princeton, NJ 08540 

609-734-7403, Vernon H. 

Hammond III, 800-877-7133, 

Edward C. Arrendell, II 

E-mail: managearkeast@comcast.net 

Web: www.managementark.com 

Contact: Vernon Hammond III, 

Edward C. Arrendell, II 

Styles: jazz 

Clients: Wynton Marsalis, Kenny 

Garrett, Cecile McLorin Salvant 


MAPLE JAM MANAGEMENT 

818-840-9000, 212-348-9567 

E-mail: info@mjmg.us 

Web: www.mjmg.us 

Contact: Starr Andreeff, VP 

Managers: Mike Renault, Starr 

Andreeff and Jeff Peters 

Clients: Taryn Manning, Christian 

Burghardt, MaDonna Grimes, The 

Fame Riot, Meg Kelley, Dustin Ray, 

Samantha Robinson, Alex Lowery, 

Madison Sweeney, David Valdes, 

Alicia Randolph, Ben Labat, Anna 

Vissi, Kiersey Clemons, Triston 

Coleman 

MARKY RAY 

The Original Rock and Roll 

Mercenary 

330-289-0589 

Email: fuzzunit@aol.com 

Web: www.facebook.com/marky.ray 

Styles: rock, experimental, power 

pop, avant garde 

Clients: 3D, the terrible parade, 

Death On A Stick, The Action, 

IguanaDonHO 

*No unsolicited email, phone calls 

or packages 

MASCIOLI ENTERTAINMENT 

CORPORATION 

319 Dillon Cir. 

Orlando, FL 32822 

407-897-8824 




Web: www.masciolientertainment.com 

Contact: Paul A. Mascoli 

Styles: country, jazz, R&B, 

orchestras, swing, tropical, rock 

Clients: Ian Tyson, Fernando 

Varela, Age of Days, The Gords, 

Asad Mecci, The Current, Four 

Divo, Gleefully, Champagne Dress, 

Red Carpet Lady 


McGHEE ENTERTAINMENT 



310-358-9200 Fax 310-358-9299 

E-mail: info@mcgheela.com 

Web: www.mcgheela.com 

Contact: Nathan Gregory 

Clients: KISS, Hootie & the 

Blowfish, Down, Ted Nugent, 

Darius Rucker, Drew Davis, 

Sacha Edwards, Night Ranger, 

Vintage Trouble, Toto, Down, Duff 

McKagan’s Loaded, Mallary Hope, 

Clint Black, The Willis Clan, Clint 

Wicks, Joel Crouse, Jack Blades, 

Easton Hamlin 





21 Music Sq. W. 


615-327-3255 Fax 615-327-3260 

info@mcgheela.com 

M. HITCHCOCK MANAGEMENT 

5101 Overton Rd. 


615-333-0015 

E-mail: info@mhmgmt.com 

Web: www.mhmgmt.com 

Contact: Monty Hitchcock 

Styles: alt. country, contemporary 

folk, rock, country 

Clients: John Starling & Carolina Star, 

Ben Cyllus, Danny Flowers, Dylan 

LeBlanc, Sweethearts of the Rodeo 


MICHAEL BROKAW 

MANAGEMENT 

E-mail: mbmgt@aol.com 

Contact: Michael Brokaw 

Styles: All 

Services: Management of: 

lighting designers, set designers, 

production designers, video 

designers 


MICHAEL HAUSMAN ARTIST 

MANAGEMENT 

826 Broadway, 4th Fl. 


212-505-1943 Fax 212-505-1127 

E-mail: michael@ 

michaelhausman.com 

Web: www.michaelhausman.com 

Contact: Michael Hausman 

Styles: rock, pop, S/S 

Clients: Aimee Mann, Suzanne 

Vega, Marc Cohn, Kristina Train, 

Cibo Matto, Christina Courtin 


MIKE’S ARTIST MANAGEMENT 

P.O. Box 35880 

Tucson, AZ 85740 

! "#"$%&'()* 

+,% 

!" 

-"&% 

520-628-8655 Fax 520-628-9072 

E-mail: mike@mikes 


Web: www.mikesmanagement.com 

Contact: Mike Lembo 

Styles: rock, pop, Americana 

Clients: Tony Furtado, Jules Mark 

Shear, Mostly Bears, Luca, Brian 

Lopez, SIRSY, The Coal Men 


MILLION DOLLAR ARTISTS 

13001 Dieterle Ln. 

St. Louis, MO 63127 

314- 965-5648, 888-521-8146 

E-mail: info@ 

americaneaglerecordings.com 

Web: www.milliondollarartists.net 

Contact: Dr. Charles “Max” E. 

Million 


Clients: Well Hungarians, Sable, 

Spanky and Our Gang, KLLR 

SmiLe, Jim Carrick 


should include the caveat 

MONOTONE INC. 

820 Seward St. 


323-308-1818 Fax 323-308-1819 

Clients: The Shins, White Stripes, 

Vampire Weekend, the Raconteurs, 

and Cold War Kids 

MOORE MUSIC, INC. 

906 N. Doheny Dr., Ste. 221 


310-274-7703 

E-mail: info@mooremusicinc.com 

Web: mooremusicinc.net 

Styles: blues, folk, rock, pop 



MSH MANAGEMENT 

Studio City, CA 

818-761-0874 

E-mail: mshmgmt@yahoo.com 

Contact: Marney Hansen 

Clients: Michelle Mangione, The Hursts 



MUSIC & ART MANAGEMENT 

9 W. Walnut St., Ste. 2D 

Asheville, NC 28801 

828-225-5658 

E-mail: steve@musicandart.net 

Web: www.musicandart.net 

Contact: Steve Cohen 

Styles: Jazz, Electronic, 

Experimental, Multimedia 

Clients: DJ Spooky, Carl Hancock 

Rux, Vijay Iyer, Acoustic Syndicate, 

Theo Bleckmann 


material 

MUSIC INC MANAGEMENT 

745 W. Katella Ave. 

Orange, CA 92867 

714-900-6840 

E-mail: info@musicinc.org 

Web: www.musicinc.org 

Contact: Vince Pileggi 

Styles: Pop 


NETTWERK PRODUCER 

MANAGEMENT 

6525 Sunset Blvd., Ste 800 

ATTORNEY 

26 Yrs. Pro Attorney / 35 Yrs. Pro. Musician 

!" 

MUSIC 

“I feel tremendous gratitude to Music Connection for the incredible 

support over the years, both for the Bangles and my solo projects. Congratulations 

on 35 years of great music journalism.” —Susanna Hoffs 

“Music Connection were one of the first music magazines to write 

about Live From Daryl’s House, when it was a fledgling web show. 

They have adapted with the changing music scene, as well as the 

ever changing technology.” —Daryl Hall 

“Music Connection... the go to place to find musicians, sell or buy instruments, 

locate affordable rehearsal & recording studios. An indispensable 

source of trade for all things music.” —Slash 

“Music Connection was a HUGE 

part of exposing Mötley Crüe. 

The rest is history. Happy anniversary, 

guys!” —Nikki Sixx 

“Still on my regular reading list, and they’re still doing 

a great job covering our industry and the creative 

community, making an important contribution to 

our collective development and well-being.” 

— Neil Portnow, Recording Academy President/CEO 

Legal Expert: 

 

 

 

 

 

 

 

Christopher J. Olsen 

Lawyer 

“My favorite pages of MC are the endless lists of bands, clubs, 

managers, agents, studios and of course the musicians looking 4 

musicians section!! And the reviews - oh the reviews...Jane’s first 

MC review I remember it well — ‘Iggy Pop meets Ted Nugent 

with Keith Moon on drums.’” —Stephen Perkins, Jane’s Addiction 

“When I first started to perform, I reached into Music Connection 

to get reviews (of myself—I must admit) and I also read the 

articles. We were a great musical eco system—all of us...” 

—Perry Farrell, Jane’s Addiction 

“Had it not been for MC, our story may not have reached the 

thousands of eyes it did. We owe a great deal of our early 

success to MC for giving us the chance to be seen and heard.” 

—Dave Navarro, Jane’s Addiction 

* Music Connection wants to thank all of the artists and industry pros for their contributions! 

!"##$%&'()$*$+,-.# 

/-.01)2'2(-.3 

Call or Email Anytime: 805-557-0660 

chris@chrisolsenlaw.com 

www.chrisolsenlaw.com 

March 2013 


65




323-698-1845 

E-mail: info@nettwerk.com 

Web: www.nettwerk.com/producer 



345 7th Ave., Ste. 1101 


212-760-1540 

33 Richdale Ave, Suite 121 

Cambridge, MA 02140 

617-497-8200 

Rear of 44 Chiswick Lane 

London, W4 2JQ 

011-44-207-456-9500 

Neuer Kamp 32 

20357 Hamburg, Germany 

49-40-431-846-50 

1650 W. 2nd Ave. 

Vancouver, BC V6J 4R3 

604-654-29029 

NEW HEIGHTS ENTERTAINMENT 

P.O. Box 8489 


323-802-1650 

E-mail: info@newheightsent.com 

Web: www.newheightsent.com 

Contact: Alan Melina 


Clients: RedOne 

Productions, 2101 Songs, Songs 

of RedOne, 2101 Records, Anders 

Music Inc, Adam Anders, Nikki 

Anders, Bump Into Genius, Back 

Into Genius, Deep Well Records, 

Orange Factory Music 


NOCTURNAL MOVEMENTS 

MUSIC RESOURCES 

P.O. Box 5583 

Vancouver, WA 98668 

360-513-9121 

E-mail: jett@nocturnalmovements.net 

Web: www.nocturnalmovements.net 

Contact: Jett Black 


Clients: Deathwatch Beetle 

Repairman, Tri-State Killing Spree, 

Collilde, Tone Casualties 


NUMAX ENTERTAINMENT 

P.O. Box 740 

Branson, MO 65615 

877-321-6044 

E-mail: info@numax 


Web: www.numaxentertainment.com 

Contact: Randy Stringfellow 

Styles: nostalgia, pop, swing, jazz, 

Country, R&B 

Clients: Six Real Brothers, 

Imagine, the Alley Cats, the 

Heartbeats 


OMNI ENTERTAINMENT, INC. 

6119 Greenville Ave., Ste. 361 

Dallas, TX 75206 

214-272-2301 Fax 214-269-0211 

Web: www.omnicaprice.com 

Contact: Don Brooks 

Styles: rock, country, pop, punk, 

metal, alt. 

Clients: Beneath Me, Displaced, 

Saturate, Spiral Arms 


PACIFIC BEACH RECORDING 

COMPANY 

1939 Grand Ave., 2nd Lvl. 

San Diego, CA 92109 

858-490-3961 Fax 858-490-3962 

E-mail: sunny@ 

pacificbeachrecords.com 

Web: www.pacificbeachrecords.com 

Contact: Hugh Herrera, A&R 

Director; Chris Renzulli, President 

Styles: Pacifica, Balearic, cosmic 

house, funky disco, electronica, 

experimental, intelligent dance 

Clients: H-Track, Dirtywerk, DJ 

Harvey, DJ Renzulli 


PANACEA ENTERTAINMENT 

13587 Andalusia Dr. E. 

Camarillo, CA 93012 

805-491-9400 Fax 805-491-0406 

E-mail: info@panacea-ent.com 

Contact: Eric Gardner, Lynn 

Robnett 

Clients: Donny Osmond, Todd 

Rundgren, Utopia, Paul Shaffer, 

Richard Belzer, Cassandra “Elvira” 

Peterson, Martha Quinn 

Styles: rock 



PATRICK RAINS & ASSOCIATES 

1255 5th Ave., Ste. 7K 


212-860-3233 

E-mail: pra@prarecords.com 

Web: www.prarecords.com 

Contact: Patrick Rains 

Styles: jazz, pop, rock 

Clients: Jonatha Brooke, Joe 

Sample, the Crusaders, Randy 

Crawford, David Sanborn 


PERFORMINGBIZ.COM 

10 Chestnut Ct. 

Palmyra, VA 22963 

434-591-1335 

E-mail: jg@performingbiz.com 

Web: www.performingbiz.com 

Contact: Jeri Goldstein 

Styles: All Styles/Coaching & 

Consulting Only 

*Accepts Unsolicited material 

PERSISTENT MANAGEMENT 

P.O. Box 88456 


424-245-0416 

E-mail: pm@persistent 


Web: www.persistent 


Contact: Eric Knight 

Styles: All 

Clients: Ignacio Val, Satellite Sky, 

Eric Knight 

Services: Personal Management 

*Accepts Unsolicited material, 

email links only, no phone calls 

PRODIGAL SON 

ENTERTAINMENT 

Brentwood, TN 37027 

615-377-0057 

E-mail: prodigalsonent@gmail.com 

Web: www.prodigalsonentertainment.com 

Contact: Scott Williams 

Styles: rock, alt., hard rock, 

country, Christian, instrumental 

Clients: Skyhawk Drive, 7 Bridges, 

Jason Lee McKinney, iShine Live, 

KISS Mania, Voices of Rock Radio, 

Liquid Blue, Submission Red, 

llia, Joanna Beasley, New River 

Band, August Rain, Dave Clo Live, 

Kathleen Carnali, Air Five, Salient 


PROSPECT PARK 

2049 Century Park E., Ste. 2550 


310-746-4900 Fax 310-746-4890 

E-mail: jsousa@prospectpk.com 

Contact: Jennifer Sousa 


Q PRIME MANAGEMENT 

729 7th Ave., 16th Fl. 


212-302-9790 

E-mail: info@qprime.com 

Web: www.qprime.com 

Contact: Randi Seplow 


Clients: Gillian Welch, Muse, 

Metallica, Silversun Pickups, Josh 

Groban, Red Hot Chili Peppers 


RAINMAKER ARTISTS 

P.O. Box 342229 

Austin TX 78734 

512-843-7500 

Email: paul@rainmakerartists.com 

Web: www.rainmakerartists.com 

Contact: Paul Nugent 


Clients: Blue October, Bowling For 

Soup, IAMDYNAMITE, People On 

Vacation, Tori Vasquez, 

Zayra 


REBEL WALTZ MANAGEMENT 

31652 2nd Ave. 

Laguna Beach, CA 92651 

949-499-4497 

E-mail: info@rebelwaltz.com 

Web: www.rebelwaltz.com 

Contact: Jim Guerinot 

Styles: punk, rock 

Clients: The Offspring, No Doubt, 

Nine Inch Nails, Josh Freese, 

Gwen Stefani, Robbie Robertson 


REDGORILLA MUSIC FEST 

E-mail: info@redgorillamusic.com 

Web: www.redgorillamusic.com 

Contact: Kelly M. Fenton 

Styles: All genres accepted 

Clients: Please visit site for more 

information 

*Submit via snail mail 

RED LIGHT MANAGEMENT 

925 W. 7th Ave. 

Denver, CO 80204 

303-565-5690 

E-mail: info@redlight 


Web: www.redlightmanagement.com 


Clients: Tim McGraw, Faith Hill, 

Alicia Keys, Steve Angello, Phish, 

Ben Harper, Damian Marley, 

Alabama Shakes, Petty Lights, 

Talib Kweli, Miley Cyrus 






Los Angeles 

Charlottesville 

New York 

Nashville 

London 

RED STAR 

1007 N. Vinedo Ave. 

Pasadena, CA 91107 

626-798-0053 Fax 626-798-2052 

E-mail: wrongent@yahoo.com 

Contact: Mike Crowley 

Clients: Diecast 

Styles: alt., rock 


*Accepts unsolicited material, please 

e-mail for permission 

REGIME MANAGEMENT 

105 W. Alameda Ave. #230 


E-mail: info@regimeinc.com 

Web: www.regimeinc.com 

Contact: Ivory Daniel, Kevin 

Zinger, Benny Glickman, 

Violet Brown 

Clients: B-Side Players, Big B, 

Christian Scott, Dilated Peoples, 

Jason Ellis, Everlast, House of 

Pain, Glasses Malone, Mickey 

Avalon, DJ Muggs, Poncho 

Sanchez, Slaine, Swollen 

Members, Unwritten Law 

ROGER SMITH ENTERTAINMENT 

P.O. Box 756 

Oceanside, CA 92049 

310-497-1326 Fax 760-325-5683 

E-mail: rsmithpro@earthlink.net 

Services: full service 

entertainment company 

specializing in publicity, promotion, 

marketing and consulting 


RON RAINEY MANAGEMENT, 

INC. 

315 S. Beverly Dr., Ste. 300 


310-277-4050 Fax 310-557-8421 

E-mail: rrmgmt@aol.com 

Web: www.ronrainey.com 

Contact: Ron Rainey 

Clients: John Kay & Steppenwolf, 

Billy Dean, August Darnell, Kid 

Creole & the Coconuts, Marshall 

Tucker Band, Alvin Lee, Blue Cheer 

Styles: rock 

Services: management 


ROSEN MUSIC 

P.O. Box 1308 

Pacific Palisades, CA 90272 

310-471-1272 

E-mail: rosenmusiccorp@me.com 

Web: www.rosenmusiccorp.com 

Contact: Steven Rosen 

Styles: all styles 

Clients: Kelly Levesque (Due Voci) 

Randy Johnson, Three Graces, 

Orianthi, Ryan Newman, Thom 

Russo 


RPM MANAGEMENT 

815 18th Ave. S. 


615-256-1980 

E-mail: april@rpmweb.com 

Contact: April Rider 

RPM MUSIC PRODUCTIONS 

48 W. 10th St., Ste. B 


212-246-8126 Fax 212-397-1371 

E-mail: dbennett@rpmproductions.com 

Contact: Danny Bennett 

Styles: rock, pop, jazz 

Clients: Tony Bennett 


RPS RECORDING AND 

ENTERTAINMENT GROUP 

4212 E Los Angeles Ave. 

Simi Valley, CA 93063 

805-551-2342 

E-mail: rps-records@sbcglobal.net 

Web: www.rps-records.com 

Contact: Gary Bright 

Styles: Various genres along with 

Gospel and Christian 

*No unsolicited material please 

RUSSELL CARTER ARTIST 

MANAGEMENT 

567 Ralph McGill Blvd. 

Atlanta, GA 30312 

404-377-9900 Fax 404-377-5131 

E-mail: russell.rcam@gmail.com 

Web: www.fb.com/ 

russellcarterartistmanagement 

Contact: Russell Carter 

Styles: S/S, alt., Americana, pop, rock 

Clients: Indigo Girls, Matthew 

Sweet, the Bangles, Shawn 

Mullins, Chely Wright, the 

Shadowboxers, Larkin Poe 

SAM 

Silva Artist Management 

722 Seward St. 


323-856-8222 

E-mail: info@sammusicbiz.com 

Web: www.sammusicbiz.com 

Contact: John Silva 

Clients: Foo Fighters, Band of 

Horses, Ryan Adams, Jimmy Eat 

World, Tenacious D, Beastie Boys, 

Beck, Probot, Sonic Youth, Queens 

Of The Stone Age, Taylor Hawkins 

and the Coattail Riders 

Styles: alt., rock 


SHARPE ENTERTAINMENT 

SERVICES, INC. 

683 Palmera Ave. 

Pacific Palisades, CA 90272 

310-230-2100 Fax 310-230-2109 

E-mail: frances@ses-la.com 

Web: www.ses-la.com 

Contacts: Wil Sharpe, CEO; 

Frances Sharpe Manager 

Clients: Sarah Bettens, K’s 

Choice, Bigelf, Black Box 

Styles: alt., pop, S/S, rock 



SILENT PARTNER 

MANAGEMENT 

536 Pantops Ctr., Ste. 343 

Charlottesville, VA 22911 

434-245-4000 

E-mail: contact@ 

silentpartnermanagement.com 

Web: www. 

silentpartnermanagement.com 

Styles: rock 

Clients: Joey Ramone, Cheap 

Trick, Ace Frehley, Ministry 


SIREN MUSIC 

P.O. Box 12110 

Portland, OR 97212 

503-238-4771 

E-mail: december@ 

sirenmusiccompany.com 

Web: www.sirenmusiccompany.com 

Contact: December Carson 

Styles: roots, americana, rock, 

folk, s/s, alt. country, Irish, pop, 

bluegrass 

Clients: Sara Jackson-Holman, 

Caleb Klauder, the Foghorn 

Stringband, Bella Fayes 


SORKIN PRODUCTIONS 

3742 Jasmine Ave., Ste. 201 


310-559-5580 Fax 310-559-5581 

E-mail: donsorkin@aol.com 

Contact: Don Sorkin 

Styles: R&B, pop, rock, dance 


publishing 


material 

SOUNDTRACK MUSIC 

ASSOCIATES 

1460 4th St., #308 


310-260-1023 

E-mail: info@soundtrk.com 

Web: www.soundtrk.com 

Contact: John Tempereau 


Clients: Cliff Martinez, John 

Swihart, Jeff Danna, Jeff Cardoni, 

Tree Adams, Alf Clausen 


SO WHAT MEDIA & 

MANAGEMENT 

890 W. End Ave., Ste. 1-A 


212-877-9631 

E-mail: sowhatasst@me.com 

Contact: Lisa Barbaris 


Clients: Simply Red, Cyndi 

Lauper, True Colors Tour, Vivian 

Green, Hunter Valentine 


SPA MUSIC MANAGEMENT, INC. 

2 Generations 

275 Madison Ave., Ste. 1905 


212-661-6990 Cell 917-951-3645 

E-mail: aberger@ 

primarywavemusic.com 

Web: www.2generations.com 

Contact: Aimee Berger 

Clients: Matt Stamm, Natascha 

Sohl, Jeff Stephens, Nicolette Hart, 

Michael and Marisa 

GREAT MUSIC DESERVES GREAT SERVICE 

Specialists in 

Research & Organization 

 

 

 

 

We are truly Music Detectives! 

The composer’s catalogue 

of over 500 copyrights is 

available for licensing 

 

 

 

 

 

 

March 2013 


67



Styles: rock, pop, S/S 

*See web for info 

STAGE RIGHT TALENT 

2141 Pamela Street 

Oxnard, CA 93036 

805-485-5109 Fax 805-485-5108 

E-mail: stagerightalent@yahoo.com 

Web: www.freewebs.com/ 

stageright 

Contact: Jasmine Spencer 

Styles: R&B, jazz, gospel, latin, 

reggae, reggaeton, soul, pop 


STANN FINDELLE LAW & 

MANAGEMENT 



310-552-1777 Fax 310-286-1990 

E-mail: perfstanny@aol.com 

Contact: Stann Findelle 

Clients: Kenny Sargent, Joe 

Dallesandro, Speed Freaks, 

Cosmopolis, Kimmie Heaven, 

Earthworks Film 

Styles: all 


legal services 


material 

STAR DIRECTION, INC. 


W. Hollywood, CA 90069 

310-271-7186 Fax 310-550-8471 

E-mail: stardirection@sbcglobal.net 

Clients: The Temptations 

Styles: R&B 



STARKRAVIN’ MANAGEMENT 

McLane & Wong 

11135 Weddington St., Ste. 424 

N. Hollywood, CA 91601 

818-587-6801 Fax 818-587-6802 

E-mail: bcmclane@aol.com 

Web: www.benmclane.com 

Contact: Ben McLane, Esq. 

Styles: pop, rock, alt. 


legal services 


STERLING ARTIST 

MANAGEMENT, INC. 



818-907-5556 Fax 818-907-5558 

E-mail: mark@sterlingartist.com 

Web: http://sterlingartist.com/SAM/ 

Artists.html 

Contact: Mark Sterling 

Clients: Hope Waits, Carolina 

Brooks, Professor RJ ross, Re-Delux 

Styles: S/S, Americana, blues 


*Inquiry letters accepted 

STEVEN SCHARF 

ENTERTAINMENT 

126 E. 38th St. 


212-779-7977 x3905 

Fax 212-725-9681 

E-mail: sscharf@carlinamerica.com 

Web: www.stevenscharf.com 

Contact: Steven Scharf 

Styles: rock, alt., S/S, hiphop, 

world, producers, film & tv 

composers 

Clients: Michale Vail Blum, Julius 

Butty, Shane Faber, Askold Buk, 

Zain Effendi, Mark Suozzo, 46bliss 


STEVE STEWART 

MANAGEMENT 

12400 Ventury Blvd., #900 


E-mail: stevestewart@ 

stevestewart.com 

Web: www.stevestewart.com 

Contact: Steve Stewart 

Styles: alt., rock, pop producers, 

film & TV composers 


STIEFEL ENTERTAINMENT 

21731 Ventura Blvd. Ste. 300 

Woodland Hills, CA 91364 

310-275-3377 Fax 310-271-5175 

Contact: Arnold Stiefel 

Clients: Rod Stewart 




STREET SMART MANAGEMENT 

2323 W. El Segundo Blvd, 

Hawthorne, CA 90250 

E-mail: sara@streetsmart 


Web: www.streetsmart 


Contact: Sara Kinne 

Clients: Exodus, Girl On Fire, Bob 

Wayne, The Relapse Symphony, 

Speaking The King’s, Act As If, 

Vendetta Red, Carson Allen, Into 

The Flood, The Natural Born 

Killers, Shan Dan 

Styles: rock, metal, indie, pop 

Services: artist management 

SUNCOAST MUSIC 

MANAGEMENT 

9215 Jminez Dr. 

Hudson, FL 34669 

727-868-3828 Fax 888-727-1698 

E-mail: suncoastbooking@aol.com 

Web: www.suncoastentertainment.biz 

Contact: Al Spohn 

Styles: disco, rock, classic 

rock, variety 

Clients: Poison’d and Red White 

and Crue (tributes to Poison and 

Mötley Crüe package), Hells/ 

Bells (AC/DC Tribute), Battery 

(Metallica) Paradise City (GNR), 

Live Bait (Jimmy Buffett & Party 

Band), Stayin Alive (Bee Gees & 

70s Disco), Space Cowboy (Steve 

Miller Band), Higher Ground (Red 

Hot Chili Peppers Tribute) 


SUPERVISION MANAGEMENT 

London, UK 

Web: www.myspace.com/ 

supervisionmanagement 

Clients: Franz Ferdinand, Kaiser 

Chiefs, The Cribs, Crystal Castles, 

White Lies 

Styles: Indie, Rock 

TAKEOUT MANAGEMENT 

1129 Maricopa Hwy, #238 


805-382-2200 Fax 805-201-7816 

E-mail: info@howiewood.com 

Web: www.howiewood.com 

Contact: Howard Rosen 

Clients: Rebecca Moreland (artist) 

David Grow (producers), Jim 

McGorman, Kevin Wesley Williams, 

Rodney Shelton, Jon Gass, Ken 

Callait, Dito Godwin 

Styles: All 


shop for distribution and record 

deals. Production and remix with 

major producers. 

SURVIVAL MANAGEMENT 

30765 PCH, Ste. 325 

Malibu, CA 90265 

310-317-9223 

E-mail: survivalmgmt1@aol.com 

Web: survivalmanagementinc.com 

Contact: Bob Ringe 

Styles: rock, hard rock, alt. 

Clients: Archer, Leslie West, 

Zakk Wylde, Black Label Society, 

Mountain, Bruce Jr., and Laing, 

The Golden Ghosts 


TED KURLAND ASSOCIATES 

173 Brighton Ave. 

Boston, MA 02134 

617-254-0007 Fax 617-782-3577 

E-mail: agents@tedkurland.com 

Web: www.tedkurland.com 

Contact: Ted Kurland 

Styles: jazz, blues, vocals 

Clients: Pat Metheny, Chick Corea, 

Julian Lage, Ellis Marsalis, Ramsey 

Lewis, Danilo Perez, Marian 

McPartland, Bill Charlap, Wynton 

Marsalis, Christian McBride, Dee 

Dee Bridgewater, Ann Hampton 

Callaway, Stacey Kent, Stanley 

Clarke and more 


TEN ENTERTAINMENT, INC. 

1449 Alteras Cir. 


615-289-2822, Fax 866-230-3942 

E-mail: shannon@ 

tenentertainment.com 

Web: www.tenentertainment.com 

Contact: Shannon Brown 


Clients: Our Heart’s Hero, 

Philmont, Shay Watson, Eric 

Mizelle, Shay Watson, Eric Mizelle 

*Accepts unsolicited material: 

e-mail with links to Myspace or 

other online outlets with your 

music. Do not e-mail MP3s unless 

requested. 

TENTH STREET 

ENTERTAINMENT 

38 West 21st St., Ste. 300 


212-334-3160 

E-mail: info@10thst.com 

Web: www.10thst.com 

Contact: Allen Kovac 

Clients: Motley Crue,, Sixx AM, 

Drowning Pool, Papa Roach, 

Blondie, Deborah Harry, Crossfade, 

Eve, Hellyeah, Deuce, Oh No 

Fiasco, Nico Vega, Five Finger 

Death Punch 

Styles: All 




700 San Vicente Blvd, #G410 

West Hollywood, CA 90069 

310-385-4700 

E-mail: info@10thst.com 

TG2 ARTISTS 

P.O. Box 550 

Carrboro, NC 27510 

919-967-8655 Fax 919-869-2410 

E-mail: trish@tg2artists.com 

Web: www.tg2artists.com 

Contact: Trish Galfano 

Styles: folk, bluegrass, jazz, 

Americana 

Clients: The John Jorgenson 

Quartet, Bearfoot, Claire 

Lynch Band 


THAT’S ENTERTAINMENT 

INTERNATIONAL, INC. 

(T.E.I.) 

3820 E. La Palma Ave. 

Anaheim, CA 92807 USA 

714-693-9300 Fax 714-693-7963 

E-mail: jmcentee@ 

teientertainment.com 

Web: www.teientertainment.com 

Contact: John McEntee 

Styles: All 

Services: Entertainment broker for 

corporate/concert events, personal 

management 


THREE ARTIST MANAGEMENT 

c/o Red Light Management 

8439 Sunset Blvd. 


310-273-2266 

E-mail: info@threeam.net 

Web: www.threeam.net 

Contact: Richard Bishop 

Clients: The Crystal Method, 

Jason Lytle/Grandaddy, Henry 

Rollins, Tobias Enhus, Sander 

Kleinenberg, Tommy Stinson, Static 

Revenger, DJ Rap, The Art, Film 

and TV Projects 

Styles: All 


agency 


THREEE 

Erik Eger Entertainment, Inc. 

2906 Rowena Ave. 


213-381-5100 Fax 213-381-5115 

E-mail: info@ 

erikegerentertainment.com 

Web: www.erikeger 


Contact: Erik Eger 


Clients: Rich Costey, Chris 

Carmouche, Michael H. Brauer, 

Dan Carey, Stuart Matthewman, 

Sly and Robbie, John Hill, Chris 

Coady, Kid Harpoon 

*We do not accept unsolicited 

material 

THUNDERBIRD MANAGEMENT 

GROUP 

11840 Hwy. 308 

Larose, LA 70373 

985-798-5665 

E-mail: thunderbird@viscom.net 

Web: www.thethunderbird 

mangementgroup.com 

Contact: Rueben Williams 

Styles: all styles 


TKO ARTIST MANAGEMENT 

2303 21st Ave. S., 3rd Fl. 





615-383-5017 Fax 615-292-3328 

Web: www.tkoartistmanagement.com 

Contact: T.K. Kimbrell 


Clients: Mac McAnally, Toby Keith, 

Carter’s Chord, Chris LeDoux, JT 

Hodges, Krystal Keith 


TOM CALLAHAN & ASSOCIATES 

P.O. Box 1960 

Manhattan Beach, CA 90267 

310-418-1384 

E-mail: info@tomcallahan.com 

Web: www.tomcallahan.com 

Contact: Tom Callahan 

Styles: All 

Services: full-service consulting 

company, including record 

promotion, legal services, Internet 

marketing, web design, retail 

promotion and publicity. 


TONY MARGHERITA 

MANAGEMENT 

E-mail: info@tmmchi.com 

Web: www.tmmchi.com 

Contact: Tony Margherita 

Styles: rock, jazz 

Clients: Wilco, Glenn Kotche, Jeff 

Tweedy, Wilco, Glenn Kotche, Nels 

Cline, The Baseball Project, Lucius 


TOURWERKS 

1939 Grand Ave., 2nd Lvl. 

San Diego, CA 92109 

858-490-3961 Fax 858-490-3962 

E-mail: chris@tourwerks.com 

Web: www.tourwerks.com 

Contact: Chris Renzulli 

Styles: All 


TOWER MANAGEMENT 

Suite U-V-W Button Floor 

Rear of Building 

19 Music Sq. W. 


615-401-7111 Fax 615-401-7119 

E-mail: EdRussell@castlerecords. 

com 

Web: www.castlerecords.com 

Contact: Ed Russell 

Styles: country, rock, AC, 

bluegrass, blues 

Clients: Shara Michelle Austin, 

Carl Butler, Cody Dooley, Edd 

Greer, Missy Garnett, Jerry Presley, 

Eddie Ray II, Jimmy Velvet, 

Eddie Ray 


TRICK MANAGEMENT 

UK: +44-208-314-0479 

E-mail: ask@trickrmanagement. 

com 

Web: www.trickmanagement.com 

Contact: Roger-UK & Foye-USA 

Clients: Olfar, Bear Driver, Stewart 

Agnew, Roger Bechirian 

Styles: Modern Rock, indie 


TRUE TALENT MANAGEMENT 

9663 Santa Monica Blvd., #320 

Dept WEB 


310-560-1290 

E-mail: webinfo@truetalentmgmt. 

com, submission@truetalent 

mgmt.com 

Web: www.truetalentmgmt.com 

Contact: Jennifer Yeko 

Clients: Specializing in film/TV 

placement, radio promotion, music 

publicity and managing pop/rock/ 

singer-songwriters 


TUNSTALL MANAGEMENT 

1420 Willowbrooke Cir. 

Franklin, TN 37069 

615-376-9880 Fax 615-376-9892 

E-mail: tunstallmgnt@comcast.net 

Contact: Vicki Tunstall Howell 

Styles: alt., rock, urban, R&B 



TUSCAN SUN MUSIC 

Nashville, TN 

615-794-0485 Fax 615-591-1463 

E-mail: mgmt@angelica.org 

Web: www.angelica.org, 

http://www.tuscansunmusic.com 

Contact: Jules Delgado 

Styles: Ambient, New Age, 

Inspirational, Pop, Film/TV 

Clients: Seay, Pat Thomi 


UNION ENTERTAINMENT 

GROUP, INC. 

31225 La Baya Dr., Ste. 213 

Thousand Oaks, CA 91362 

818-879-1770 Fax 818-879-0832 

E-mail: tim@ueginc.com 

Web: www.ueginc.com 

Contact: Tim Heyne, Bryan 

Coleman 

Clients: Nickelback, Default, 

Cinderella, Paul Gilbert, Daniel 

Powter, Kevin Costner & 

\Modern West 

Styles: Rock 



VARRASSO MANAGEMENT 

P.O. Box 387 

Fremont, CA 94537 

510-792-8910 

E-mail: richard@varrasso.com 

Web: www.varrasso.com 

Contact: Richard Varrasso 

Styles: rock, covers, country 

Clients: Eddie Money, Tom Wurth, 

The HazeXperience, Ira Walker 


VECTOR MANAGEMENT 

P.O.Box 120479 


615-269-6600 

E-mail: info@vectormgmt.com 

Web: vectormgmt.com 

Contact: Ken Levitan 

Styles: country, pop, S/S 


VELVET HAMMER 

MANAGEMENT 

9911 W. Pico Blvd., Ste. 350 W. 


310-657-6161 

E-mail: vhmusic@velvethammer.net 

Web: www.velvethammer.net 

Clients: System of a Down, Alice 

in Chains, the Deftones, Cypress 

Hill, Battle Lines 

Specialties: All 


WANTED MANAGEMENT 

E-mail: greggbell04@yahoo.com 

Styles: rock, pop, punk, soul 



WARREN ENTNER 

MANAGEMENT 

818-763-4422 

E-mail: wentner@mac.com 

Contact: Warren Entner 

Clients: Faith No More, Biffy Clyro 




SHELLIE WILKINSON 

Artist Management 

805-689-7917 

E-mail: shellie@lwmedia 

relations.com 

Clients: Matt Kennon, Maren 

Morris, Ryan Broshear, Brant 

Cotton, The DTease, The Earps, 

False Puppet, Scott McKain, Greg 

Ginn, Wilson Gil & the Willful 

Sinners 

WOLFSON ENTERTAINMENT, 

INC. 



818-615-0499 Fax 818-615-0498 

E-mail: jonathan@wolfsonent.com 

Contact: Jonathan Wolfson, 

Dillon Barbosa 

Web: http://www.wolfsonent.com 

Styles: All 

Clients: Daryl Hall & John Oates, 

Loverboy 

Services: Personal management. 

Also offers full-service media 

relations for management clients. 

WORLDSOUND 

17837 1st Ave. S., Ste. 3 

Seattle, WA 98148-1728 

206-444-0300 Fax 206-244-0066 

E-mail: warren@worldsound.com 

Web: www.worldsound.com 

Contact: Warren Wyatt 

Styles: rock, world, Celtic, folk, pop 

Clients: Na Leo, Keith Olsen, One 

Right Turn, Sage, The Dive Bar 

Stalkers, Drexel, Children of the 

Revolution, Anuhea 


and consulting 

*See website for submission 

information 


150 Hamakua Dr., Ste. 700 

Kailua, HI 96734 

808-262-6300 Fax 808-822-9609 

YES, DEAR ENTERTAINMENT 

2250 S. Beverly Glen Blvd., #204 


310-203-9007 

E-mail: lapersdev@yahoo.com 

Web: www.yesdearent.com 

Contact: Mike Gormley, Jolene 

Pellant, Asst. Tammy Priess 

Clients: Simon Lynge, Ronny Cox 

Styles: All 

Services: full-service including 

marketing and consultancy 


ZADA MANAGEMENT 

11732 Kiowa Ave. 

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 

March 2013 


69



Los Angeles CA 90049 

310-597-1882 

E-mail: abbaj12@aol.com 

Contact: Jack 

Styles: All 


*Accepts unsolicited promotional 

packages 

BOOKING AGENTS 

1ST TOTAL MUSIC POWER 


323-650-9400 

E-mail: aaron@totalmusicpower.com 

Web: www.totalmusicpower.com 

Contact: Aaron 

Styles: Rock; Jazz, Alt, Film, All 

Clients: Aaron Wolfson, Mercedes, 

the Broadcasters 

Services: Corporate events, concerts, 

private parties, recording sessions, 

producers, film/TV music (all). 

*Communicate your request first. 

25 Live 

24 Music Sq.W. 


615-777-2227 

E-mail: david@25ent.com 

Web: www.25ccm.com 

Contact: David Breen 

Styles: Christian 


ACA MUSIC & ENTERTAINMENT 

1025 S. Moorland, #505 

Brookfield, WI 53005 

800-279-7909, 262-790-0060 

Fax 262-790-9149 

E-mail: louie@acaentertainment.com 

Web: www.acaentertainment.com 

Contact: Louie Higgins 

Styles: Variety, Bluegrass, Bands, 

Lounge Acts, Nostalgia, DJ’s, Club, 

Festival Bands, Ceremony, Dinner 

Hour, Cocktail 

Services: Represents nightclub 

& acts for private functions, not 

currently seeking new clients 


ACT 1 ENTERTAINMENT 

P.O. Box 1079 

New Haven, CT 06504 

203-785-8338 Fax 203-865-9867 

E-mail: actonect@aol.com 

Web: www.act1ent.com 

Contact: Martha Martin 

Styles: rock & roll, blues, acoustic, 

swing, folk, Caribbean 

Services: mostly books acts for 

parties/events 

Clients: info upon request 



Stonington, CT 

860-535-0052 

Carmela Congdon 

Newington, CT 

732-690-4437 

Michael Donaghey 

Boca Raton, FL / Charlotte, NC 

Dave Coviello 

561-251-7338 

Westport, CT 

203-376-2636 

John Paolillo 

ACTS NASHVILLE 

1103 Bell Grimes Ln. 


615-254-8600 

E-mail: info@actsnashville.com 

Web: www.actsnashville.com 

Contact: Lee Shields 

Styles: country, rock, nostalgia & 

variety only 



AGENCY FOR THE PERFORMING 

ARTS (APA) 

405 S. Beverly Dr. 


310-888-4200 Fax 310-888-4242 

Web: www.apa-agency.com 

Contact: Jon Moore 

Styles: All 

*Call before submitting material 


45 W. 45th St., 4th Fl. 


212-687-0092 Fax 212-687-0176 

3010 Poston Ave. 


615-297-0100 Fax 615-297-5434 

AGENCY GROUP, THE 



310-385-2800 Fax 310-385-1220 

Web: www.theagencygroup.com 

Clients: See site for a list 



New York, NY 

142 W. 57th St. - 6th Fl. 


212-581-3100 Fax 212-581-0015 

Nashville, TN 

209 10th Ave. S. Ste. 337 


615-564-2580 Fax 615-564-2585 

A&M ENTERTAINMENT 

13280 N.W. Fwy., Ste. F-328 


713-970-1015 

E-mail: keetria@amentertainment.com 

Web: www.amentertainment.com 

Contact: Keetria Gardner-Chamber 





Los Angeles 

New York City 

AMERICAN ARTISTS 

315 S. Beverly Dr., Ste. 300 


310-277-7877 

E-mail: mike@americanartists.net 

Web: www.americanartists.net 

Contact: Michael Weinstein 

Styles: rock, classic rock, country, 

R&B, swing 



A.M. ONLY 

55 Washington St., Ste. 658 

Brooklyn, NY 11201 

718-237-2428 

E-mail: info@amonly.com 

Web: www.amonly.com 

Contact: Paul Morris 

Styles: rock, hip-hop, 

electronica, industrial 






718-237-2428 

ARTIST REPRESENTATION & 

MANAGEMENT 

1257 Arcade St. 

St. Paul, MN 55106 

651-483-8754 Fax 651-776-6338 

E-mail: jc@armentertainment.com 

Web: www.armentertainment.com 

Contact: John Domagall 

Styles: specializes in ‘80s-early 

‘90s rock, country, blues, metal 



BACKSTREET BOOKING 

700 W. Pete Rose Way, Ste. 390, 

POB 18 

Cincinnati, OH 45203 

513-442-4405 

E-mail: info@backstreetbooking.com 

Web: www.backstreetbooking.com 

Contact: Jim Sfarnas 

Styles: progressive fusion, jazz, 

rock, jam, metal 



BBA MANAGEMENT & BOOKING 

512-477-7777 

Web: www.bbabooking.com 

Styles: jazz, Latin, rock, 

classical S/S, 


BIG BEAT 

1515 University Dr., Ste. 102 

Coral Springs, FL 33071 

954-755-7759 

E-mail: rlloyd@bigbeat 


Web: www.bigbeatproductions.com 

Contact: Richard Lloyd 




BILL HOLLINGSHEAD 

PRODUCTIONS, INC. 

1010 Anderson Rd. 

Davis, CA 95616 

530-758-9779 Fax 530-758-9777 

E-mail: bhptalent@aol.com 

Web: www.bhptalent.com 

Contact: Bill Hollingshead 

Styles: California surf music, 

classic ‘50s and ‘60s rock 


BOBBY ROBERTS 

COMPANY, THE 

P.O. Box 1547 

Goodlettsville, TN 37070 

615-859-8899 Fax 615-859-2200 

E-mail: brian@bobbyroberts.com 

Web: www.bobbyroberts.com 

Contact: Brian Jones 

Styles: mostly country, 

some pop & rock 



BOOKING ENTERTAINMENT 

275 Madison Ave., 6th Fl. 


1-800-4ENTERTAINMENT 

212-645-0555 

E-mail: steve@ 

bookingentertainment.com 

Web:bookingentertainment.com 

Contact: Steve Einzig 

Styles: rock, pop, jazz, adult 

contemporary, pop, R&B 

Clients: info on website. 


BUDDY LEE ATTRACTIONS 

38 Music Sq. E., Ste. 300 


615-244-4336 

Web: www.buddyleeattractions.com 

Contact: Kevin Neal 

Styles: Country, rock, pop, 

bluegrass 


See website for other locations 

CANTALOUPE MUSIC 

PRODUCTIONS 

Ellen Azorin, President 

157 W. 79th St., Ste. 4A 


212-724-2400 

E-mail: ellenazorin@gmail.com 

Web: www.cantaloupe 


Clients: see website 

Styles: Booking agent specializing 

in Brazilian, Argentine, Cuban and 

other Latin music, as well as other 

world music and top level jazz 

ensembles. 


material 

CELEBRITY TALENT 

AGENCY INC. 

111 E. 14th St., Ste. 249 


212-539-6039, 201-837-9000, 

201-678-9222 

E-mail: markg@ 

celebritytalentagency.com 

Web: www.celebritytalentagency.com 

Contact: Mark Green 

Styles: jazz, R&B, hip-hop, 

comedians, gospel 



BRUCE COLFIN LAW, PC 



212-691-5630 

Email: thefirm@thefirm.com 

Web: www.thefirm.com 

Contact: Bruce E. Colfin 

Styles: rock, blues, world, reggae 

Clients: Dark Star Orchestra, Mick 

Taylor, Sly & Robbie, Marty Balin, 

Freddie McGregor, Niney the 

Observer, Bernard Purdie 

*Accepts unsolicited material - 

Submit material w/ a S.A.S.E. & 

proper postage for return 

CIRCLE TALENT AGENCY 

8383 Wilshire Blvd. Suite 1030 


323-424-4970 Fax 323-424-4976 

Web: http://circletalentagency.com 




Contact: Various, see http:// 

circletalentagency.com/contact.php 

COAST TO COAST MUSIC 

PO Box 18334 


818-376-1380 

E-mail: ccmusicbooking@yahoo.com 

Web: http://positivemusic 

programs.com 

Contact: Chris Fletcher 

COLLIN ARTISTS 


323-467-4702, 323-556-1046 

E-mail: collinartists@gmail.com 

Web: www.collinartists.com 

Contact: Barbara Collin, Robert 

Sax, Goh Kurosawa 

Clients: Mary Stallings, Jeri Brown, 

Carmen Lundy, Kevin Mahogany, 

Andy Bey, Alan Paul, Pete 

Escove4do Latin Jazz Masters, 

Bobbi Humphrey, Pamela Williams 

and more 

Styles: jazz, blues, world, Latin, 

R&B, doo wop/classics and beyond 

Services: Management, 

promotion, consulting, booking, 

workshops 


CONCERTED EFFORTS, INC. 

P.O. Box 440326 

Somerville, MA 02144 

617-969-0810 Fax 617-209-1300 

E-mail: concerted@ 

concertedefforts.com 

Web: www.concertedefforts.com 

Contact: Paul Kahn 

Styles: blues, soul, jazz, gospel, 

zydeco, Cajun, folk, s/s, rock, world 



CORALIE JUNIOR AGENCY 

907 S. Victory Blvd. 


818-842-5513 

Contact: Coralie Junior 

Styles: ‘50s-’60s, nostalgia, 

modern, diversified 


CREATIVE ARTISTS AGENCY 

2000 Ave. of the Stars 


424-288-2000 Fax 424-288-2900 

Web: www.caatouring.com 

Styles: All 

*No unsolicited material or No 

phone calls 


New York 

212-277-9000 

Nashville 

615-383-8787 

London 

+020-8846-3000 

DALE MORRIS & ASSOCIATES 

MORRIS ARTIST MANAGEMENT 

818 19th Ave. S. 


615-327-3400 Fax 615-327-0312 

Web: www.dalemorrismgt.com 


Clients: Kenny Chesney, Martina 

McBride, Louise Mandrell, Big and 

Rich, Blaine Larson, Jake Owen, 

Andy Gibson 


DAVIS MCLARTY AGENCY 

708 S. Lamar Blvd., Ste. D 


512-444-8750 Fax 512-416-7531 

E-mail: info@davismclarty.com 

Web: www.davismclarty.com 

Contact: Davis McLarty 

Styles: alt. country, roots, 

blues, Americana 



D. BAILEY MANAGEMENT 

15100 Hutchison Rd., Ste. 111 

Tampa, FL 33625 

813-960-4660 Fax 813-960-4662 

E-mail: dennis@ 

dbaileymanagement.com, liza@ 

dbaileymanagement.com 

Web: www.dbaileymanagement.com 

Contact: Dennis Bailey or 

Liza Saturday 

Styles: pop, R&B, top 40, 

rock, variety 



EAST COAST ENTERTAINMENT 

703 Southlake Blvd, 

Richmond, VA 23236 

804-353-3407 

Web: www.eastcoast 


Contact: Lee Moore 

Styles: rock, acoustic, classical, 

latin, jazz, pop, R&B, funk 


See website for additional locations 

ELECTRIC EVENTS 

CORPORATION 

P.O. Box 280848 

Lakewood, CO 80228 

303-989-0001 Fax 303-989-0037 

E-mail: talktome@electricevents.com 

Web: www.electricevents.com 

Contact: Michael A. Tolerico 

Styles: pop cover bands only 



ENTERTAINMENT SERVICES 

INTERNATIONAL 

6400 Pleasant Park Dr. 

Chanhassen, MN 55317 

952-470-9000 Fax 952-474-4449 

E-mail: randy@ 

esientertainment.com 

Web: www.esientertainment.com 

Contact: Randy Erwin 

Styles: mostly classic rock 



ENTOURAGE TALENT 

ASSOCIATES 

236 W. 27th St., 8th Fl. 


212-633-2600 Fax 212-633-1818 

E-mail: administration@ 

entouragetalent.com 

Web: www.entouragetalent.com 

Contact: Wayne Forte 

Styles: rock, pop, S/S, jazz 



FAT CITY ARTISTS 

1906 Chet Atkins Pl., Ste. 502 


615-320-7678 Fax 615-321-5382 

Web: www.fatcityartists.com 

Styles: nostalgia, country, big 

band, bluegrass, blues, R&B, 

Cajun, world, folk, funk, 

gospel, jazz 

*NO Rap or Opera 



FLEET TEAM BOOKING 

1808 S. Carpenter St. 

Chicago, IL 60608 

312-455-1350 Fax 773-442-0224 

E-mail: scott@fleetteambooking.com 

Web: www.fleetteambooking.com 

Contact: Scott Comeau 

Styles: punk, indie rock, hip-hop 



FORSYTH AGENCY 

412-251-5841 Fax 412-586-7962 

E-mail: scott@forsythagency.com 

Web: www.forsythagency.com 

Contact: Scott Forsyth 



GORFAINE-SCHWARTZ AGENCY 

4111 W. Alameda Ave., Ste. 509 


818-260-8500 

E-mail: reception@gsamusic.com 

Web: www.gsamusic.com 



GREAT AMERICAN TALENT 

P.O. Box 2476 

Hendersonville, TN 37077 

615-452-7878 

E-mail: sheila@gatalent.com 

Web: www.gatalent.com 

Contact: Sheila Futch 

Styles: country, Cajun 



HARMONY ARTISTS INC. 

6399 Wilshire Blvd., Ste. 914 


323-655-5007 Fax 323-655-5154 

E-mail: acrane-ross@ 

harmonyartists.com 

Web: www.harmonyartists.com 

Contact: Adrienne Crane-Ross 

Styles: tribute, nostalgia, R&B, 

Latin, blues, bluegrass, jazz, swing 


HELLO! BOOKING 

P.O. Box 18717 

Minneapolis, MN 55418 

651-647-4464 

E-mail: info@hellobooking.com 

Web: www.hellobooking.com 

Contact: Eric Roberts 

Styles: bluegrass, country, rock, 

folk, pop, jazz, indie, hip-hop, 

acoustic, rockabilly 



HIGHWAY KEY TOURING & 

PROMOTION 

773-743-9546 Fax 270-626-1899 

E-mail: cscott@hwykey.com 

Web: www.hwykey.com 

Contact: Casey Scott 

Styles: blues, roots, rock, 

alt. country, folk 

March 2013 


71





INA DITTKE & ASSOCIATES 

770 N.E. 69th St., Ste. 7C 

Miami, FL 33138 

305-762-4309 

E-mail: ina@inadittke.com 

Web: www.inadittke.com 

Contact: Ina Dittke 

Styles: jazz, Latin, world 


INTERNATIONAL CREATIVE 

MANAGEMENT (ICM) 

10250 Constellation Blvd. 


310-550-4000 

Web: www.icmtalent.com 

Styles: All 



730 Fifth Ave. 


212-556-5600 

3rd Fl., Marlborough House 

10 Earlham St. 

London, WC2H, 9LN, England 

+44.0.20.7836.8564 

IN TOUCH ENTERTAINMENT 

309 55th St. 


212-714-7722 Fax 212-202-7579 

E-mail: info@intouchhome.com 

Web: www.intouchhome.com 

Contact: Charles Carlini 


Clients: Ennio Morricone, George 

Garzone, Suzanne Ciani, Tori 

Beaumont, Mamma Freedom 

*Accepts unsolicited material - via 

SonicBids only 

JAM ENTERTAINMENT AND 

EVENTS 

2900 Bristol St., Ste. A - 208 

Costa Mesa, CA 92626 

714-556-5000 

E-mail: dennis@jam 


Web: www.jamentertainment.com 

*Accepts unsolicited COVER 

material 

JEFF ROBERTS & ASSOCIATES 

3050 Business Park Cir., Ste. 301 

Goodlettsville, TN 37072 

615-859-7040 Fax 615-851-7023 

Web: www.jeffroberts.com 

Contact: Jeff Roberts 



KEITH CASE & ASSOCIATES 

1025 17th Ave. S., 2nd Fl. 


615-327-4646 Fax 615-327-4949 

E-mail: keith@keithcase.com 

Web: www.keithcase.com 

Styles: bluegrass, roots, folk, S/S 



KENMORE AGENCY, THE 

1032 W 18th St., Ste. 3A 

Costa Mesa, CA 92627 

714-642-3329 

E-mail: mattpike@ 

thekenmoreagency.com 

Web: www.thekenmoreagency.com 

Contact: Matt Pike 

Styles: rock, punk, metal, indie 

rock, hip-hop, electronic 




P.O. Box 10744 

Portland, ME 04104 

207-420-3224 

E-mail: cody@thekenmore 

agency.com 

LIVE NATION 


415-848-0388 

Web: www.livenation.com 


Services: Producing, marketing 

and selling live concerts for artists 

LUTHER WOLF, LLC 

P.O. Box 162078 

Austin, TX 78716-2078 

512-448-3065 Fax 512-448-3067 

E-mail: wayne@lutherwolf.com 

Web: www.lutherwolf.com 

Contact: Wayne Nagel 

Styles: rock, blues 



MARSJAZZ BOOKING AGENCY 

1006 Ashby Pl. 

Charlottesville, VA 22901 

434-979-6374 

E-mail: reggie@marsjazz.com 

Web: www.marsjazz.com 

Contact: Reggie Marshall 

Styles: Jazz 



MAULDIN BRAND AGENCY 

1280 W Peachtree St., Ste. 300 

Atlanta, GA 30309 

404-733-5511 Fax 404-733-5512 

E-mail: juice@artisticcontrol.com 

Web: www.mauldinbrand.com 

Styles: urban, pop, hip-hop, R&B 



MAURICE MONTOYA MUSIC 

AGENCY 



212-229-9160 

E-mail: info@mmmusicagency.com 

Web: www.mmmusicagency.com 

Contact: Maurice Orlando 

Montoya 

Styles: jazz, Afro-Cuban, Brazilian, 

contemp/pop 



MICHAEL KLINE ARTISTS, LLC 

P.O. Box 312 

Cape May Point, NJ 08212 

609-884-5986 

E-mail: info@michael 

klineartists.com 

Web: http://michaelklineartists.com 

Clients: info on request 

M.O.B. AGENCY 

6404 Wilshire Blvd., Ste. 505 


323-653-0427 

E-mail: Mitch@mobagency.com 

Web: www.mobagency.com 

Contact: Mitch Okmin 




MONQUI EVENTS 

P.O. Box 5908 


503-223-5960 

E-mail: web@monqui.com 

Web: www.monqui.com 

Styles: alt., rock, indie rock, 

pop, country 


MONTEREY INTERNATIONAL 

200 W. Superior, Ste. 202 


312-640-7500, Fax 312-640-7515 

E-mail: ron@ 

montereyinternational.net 

Web: www.montereyinternational.net 

Contact: Ron Kaplan 

Styles: blues, jazz, world, rock, 

pop, Latin, alt., R&B 


*No unsolicited materia 


POB 297 

Carmel-by-the-Sea, CA 93921 

831-625-6300 Fax 831-625-6335 

MUSIC CITY ARTISTS 

116 Wilson Pike Cir., Ste. 240 

Brentwood, TN 37027 

615-266-6223 

E-mail: info@musiccityartists.com 

Web: www.musiccityartists.com 

Contact: Steve Pritchard 

Styles: AC, country, oldies, 

musicals, tribute, comedy, music 



MUSIC GROUP 

ENTERTAINMENT LLC 

5001 5th St., N.W. 

Washinton, CA 2001 

Celebrity Booking Agency 

300 Available Acts 

404-822-4138 

E-mail: bookings@ 

mgentonline.com 

Web: www.mgentonline.com 

Contact: Mya Richardson 

Styles: neo soul, R&B, pop, rock, 

country, jazz, alt, dance, reggae, 

calypso, dance hall, comedy actors 

*No unsolicited material - not 

accepting hip-hop demos 

MUSICIANS CONTACT 

P.O. Box 788 


818-888-7879 

E-mail: information@ 

musicianscontact.com 

Web: www.musicianscontact.com 

Contact: Sterling Howard 

Styles: All, originals or covers 

Services: Established 40 years 

as a referral service between 

musicians and employers 

MUSIC TREE ARTISTS 

MANAGEMENT 

1414 Pennsylvania Ave. 

Pittsburgh, PA 15233 

412-323-2707 Fax 412-323-1817 

E-mail: george@music-tree.com 

Web: www.music-tree.com 

Contact: George Balderose, 

Managing Director 

Styles: Folk, Americana, Celtic, 

Bluegrass, Old Time, World 



MUSTANG AGENCY 

6119 Greenville Ave., Ste. 361 

Dallas, TX 75206 

214-257-0971, 888,480-3650 

E-mail: booking@ 

mustangagency.com 

Web: www.mustangagency.com 

Contact: Don Brooks 

Styles: rock, country, pop, metal, 

pop/punk, alt., classic rock 



NANCY FLY AGENCY 

P.O. Box 90306 


512-288-2023 

E-mail: nfly@nflyagency.com 

Web: www.nflyagency.com 

Contact: Nancy Fly 

Styles: Americana, traditional, 

roots rock, blues, world 



NIGHTSIDE ENTERTAINMENT 

10 Crabapple Ln. 

Greenville, RI 02828 

401-949-2004 

E-mail: contact@ 

nightsideentertainment.com 

Web: www.nightside 


Contact: Al Salzillo 




OLYMPIC PRODUCTIONS 

ED HARTMAN MUSIC 

4501 Interlake Ave. N., Ste. 7 


206-634-1142 

E-mail: edrums@aol.com 

Contact: Ed Hartman 

Styles: rock, pop, urban, jazz, 

Latin, Caribbean, world 


*Does not Accept unsolicited 

material 

OZARK TALENT 

718 Schwarz Rd. 

Lawrence, KS 66049 

785-760-3143 

E-mail: ozarktalent@gmail.com 

Web: savoybrown.com, 

wishboneash.com, wcclark.com 

Contact: Steve Ozark 


Clients: Savoy Brown, Wishbone 

Ash, W.C. Clark 


PACIFIC TALENT 

P.O. Box 19145 


503-228-3620 

E-mail: andy@pacifictalent.com 

Web: www.pacifictalent.com 

Contact: Andy Gilbert 




Styles: Jazz, Blues, R&B, Rock, 

Funk, Disco - everything 



THE PANTHEON AGENCY 

1801 Century Park E., 19th Fl. 


310-201-0120 

E-mail: info@pantheontalent.com 

Web: http://thepantheon 

agency.com 

Styles: Talent and Literary 

PARADISE ARTISTS 

108 E. Matilija St. 


805-646-8433 

E-mail: howie@paradiseartists.com 

Web: www.paradiseartists.com 

Contact: Howie Silverman 

Styles: rock, pop, alt., legends 




New York 

212-879-5900 

PIEDMONT TALENT 

P.O. Box 680006 

Charlotte, NC 28216 

704-399-2210 

E-mail: steve@piedmonttalent.com 

Web: www.piedmonttalent.com 

Contact: Steve Hecht 

Styles: acoustic, world, jazz, blues 



PROGRESSIVE GLOBAL 

AGENCY 

P.O. Box 50294 


615-354-9100 

E-mail: jennifer@pgamusic.com 

Web: www.pgamusic.com 

Contact: Jennifer Fowler 

Styles: rock, pop, world 



PYRAMID ENTERTAINMENT 

GROUP 

377 Rector Pl., Ste. 21-A 


212-242-7274 

E-mail: smichaels@ 

pyramid-ent.com 

Web: www.pyramid-ent.com 

Contact: Sal Michaels 

Styles: urban, jazz, gospel, classic 

& contemporary R&B, funk, hip-hop 



RED ENTERTAINMENT AGENCY 

505 8th Ave., Ste. 1004 


212-563-7575 

E-mail: info@redentertainment. 

com 

Web: www.redentertainment.com 

Contact: Carlos Keyes 

Styles: rock, funk, jazz, gospel, 

R&B, pop, Latin, hip-hop 

Clients: Dionne Warwick, Chaka 

Khan, Gloria Gaynor, Sister 

Sledge, JT Taylor formerly of Kool 

& the Gang, K-Ci & JoJo, Belinda 

Carlisle, The Human League, 

Cameo, Charlie Wilson, Wang 

Chung, Hugh Cornwell 


RED RYDER ENTERTAINMENT 

1532 N Milwaukee Ave., Ste. 207 


773-384-0050 

E-mail: info@rryder.com 

Web: www.rryder.com 

Contact: Eric Selz 

Styles: rock, jazz, indie rock, 

folk, world 



THE ROSEBUD AGENCY 

P.O.Box 170429 


415-386-3456 

E-mail: mikek@rosebudus.com 

Contact: Mike Kappus 

Web: www.rosebudus.com 

Styles: funk rock, singer/ 

songwriter 

Clients: Trombone Shorty & 

Orleans Avenue, JJ Cale 


SELAK ENTERTAINMENT 

1220 Lida St. 


626-584-8110 Fax 626-584-8122 

E-mail: steve@selak 


Web: www.selakentertainment.com 

Contact: Steve Selak 

Clients: ABC TV, Affinity Events, 

Aligator Pear Events, Ameristar 

Casinos, APA Agency, Beverly Hills 

Hotel, Budweiser, CAA Agency, 

Capital One Credit Card Company, 

CBS TV, Columbia Pictures, EA 

Sports, Fox Sports, Major League 

Baseball, MTV, NBA, NFL, NBC 

TV, Paramount Pictures, Universal 

Pictures, Walt Disney Pictures, 

Warner Brothers, William 

Morris Agency 


SELF GROUP, LLC, THE 

P.O. Box 14721 


E-mail: info@selfgroup.org 

Web: www.selfgroup.org 

Contact: Krist Krueger 

Styles: indie, rock, folk, acoustic, 

experimental, pop 



SMC ARTISTS 

4400 Coldwater Canyon, Ste. 127 

Studio City, CA 91604-5038 

818-505-9600 

E-mail: ovavrin@smcartists.com 

Web: www.smcartists.com 

Contact: Otto Vavrin II 

Styles: Film & TV composers 



SPECTRUM TALENT AGENCY 

212-268-0404 Fax 212-268-1114 

E-mail: marc@ 

spectrumtalentagency.com 

Web: www.spectrumtalent 

agency.com 

Contact: Marc Katz 

Styles: pop, R&B, dance, 

hip-hop, theatrical 



STEINER TALENT 

813 N. Boonville Ave., 2nd Fl. 

Springfield, MO 65804 

417-889-9909 

E-mail: ask@steinertalent.com 

Web: www.steinertalent.com 

Contact: Mark Steiner 




225 S. Water St. 

Chandler’s Wharf 

Wilmington, NC 28401 

866-788-4447 

TEMPEST ENTERTAINMENT 

245 W. 25th St., Ste. 3B 


212-645-1702 

E-mail: lian@ 

tempestentertainment.com, 

leticia@tempestentertainment.com 

Web: www.tempest 


Contact: Lian Calvo Serrano 



THIRD COAST TALENT 

P.O. Box 334 

Kingston Springs, TN 37082 

615-685-3331 

E-mail: generalinformation@ 

thirdcoasttalent.com 

Web: www.thirdcoasttalent.com 


Clients: see website 

for complete roster 


UNCLE BOOKING 

5438 Winding Way Dr. 


713-688-4854 Fax 713-681-5260 

E-mail: erik@unclebooking.com 

Web: www.unclebooking.com 

Clients: AU, Kevin Barnes, 

Bottomless Pit, CEX, Citay, the 

Coke Dares, Cryptacize, Danielson, 

Bart Davenport, Deerhoof 


UNIVERSAL ATTRACTIONS 

AGENCY. 

135 W. 26th St. 12th Fl. 


212-582-7575 x106 

Fax 212-333-4508 

E-mail: info@universal 

attractions.com 

Web: www.universalattractions.com 

Contact: Nick Martucci 

Styles: All 



VARIETY ARTISTS 

INTERNATIONAL 

1924 Spring St. 

Paso Robles, CA 93446 

805-545-5550 Fax 805-545-5559 

E-mail: john@varietyart.com, 

bob@varietyart.com, lloyd@ 

varietyart.com, 

zach@varietyart.com 

Web: www.varietyart.com 

Contact: Bob Engel, John 

Harrington, Lloyd St. Martin, 

Zach Mullinax 

Styles: rock, folk, pop, 

rap, jazz, oldies 



WALKER ENTERTAINMENT 

GROUP 

P.O.Box 7827 


281-431-9393 Fax 713-776-2157 

Web: www. 

walkerentertainmentgroup.com 

Contact: Ernest Walker, 

President/CEO 


WILLIAM MORRIS AGENCY 

9601 Wilshire Blvd. 


310-285-9000 Fax 310-285-9010 

Web: www.wma.com 

Styles: All 

*No unsolicited material - No 

phone calls 


1325 Ave. of the Americas 


212-586-5100 Fax 212-246-3583 

119 Washington Ave., Ste. 400 

Miami Beach, FL 33139 

305-938-2000 Fax 305-938-2002 

1600 Division St., Ste. 300 


615-963-3000 

Fax 615-963-3090 

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TIP JAR 

By C. Michael Brae 

5 

Timely Tips 

for Indie Labels 

& Artists 

SO, WHAT DO 2013 AND 2014 hold for indie artists and labels? 

The key is to view the industry “globally” and not in territories, 

says one music exec who offers five positive observations 

related to new trends and promotional tips: 

1. Indie Label Opportunities and Partnerships Will Increase 

All music companies will be focused on streamlining their efforts this 

year. This involves smarter processes, innovative developments and 

keeping overhead low. Independent labels typically have had to function 

with these elements in place from day one; their ability to stay nimble will 

allow for continued growth opportunity. As business partnerships continue 

to solidify between content owners and brands, smaller labels will be 

able to adapt quickly and profit at lower revenue thresholds. This creates 

a strategic advantage that, if managed properly, we will see an upward 

trend and growth for indie labels. 

2. Artist Development is Back 

The label retaliation against poor industry numbers has historically 

been to invest less and less into developing artists in order to sustain 

long-term careers. The result is, you see quick 

famed one-hit wonders and lots of crap on the 

radio. Because labels will seize the opportunity 

by increasing their budgets by investing in 

apps, online radio and social media, labels will 

once again focus on developing sustainable 

careers––not one-hit wonders. Likewise, A&R 

will also become relevant which will lead to an 

increase in music industry jobs. 

3. Companies Will Hold Stake in Artists 

and Corporate Sponsor Partnerships 

Will Increase 

“Whatever made you 

successful in the old 

paradigm may not even 

exist or be necessary in 

the new paradigm.” 

Because so many companies are now 

adopting the Apple advertising model by using 

relatively unknown musicians in product 

campaigns, partnership expectations will also change. This will lead to 

companies expecting 360 deals just like the record labels. For example, 

if Pepsi makes the collective decision to break an artist by putting their 

tunes in an upcoming commercial, Pepsi will now expect to have a percentage 

stake in digital and physical sales for X amount of time. It is an 

inevitable partnership now that businesses clearly understand the parallel 

between advertising and music. (Always remember: “Music is Universal.”) 

4. Future of Internet Radio Leaning Toward Indie Artists Music 

I asked my niece, Adriana, who is now 22 years old, when was the 

last time she listened to an FM radio station; she replied that it was when 

she was 13 years old, go figure! She told me “Uncle, come on, who does 

that?” All the music she listens to is online and on Internet radio. With 

that being said, I would recommend to start changing your promotional 

approach from traditional FM radio stations to Internet radio stations. The 

radio industry has always had a limited number of availabilities for introducing 

new artists, affected by the increased amount of advertising and 

availabilities slots, not to mention “support,” meaning spins (that’s another 

story). In addition, traditional radio still plays to the masses; that means it 

demands familiar artists and redundancy of songs. The future for music 

discovery lies with you, the indie artist. And keep in mind, Internet radio is 

not saturated with advertising, for now! 

5. Deciding Your “Ultimate Music Aggregator” 

There are hundreds of digital retail stores worldwide. Who do you pick 

as your “ultimate music aggregator” in positioning, promoting and selling 

your music to gain the most ground in supporting your overall digital sales 

efforts? I recently spoke to Steve Norris, one of the partners of Mondo- 

Tunes, who commented, “While most independent distributors reach 

only 45-50 retailers, despite charging needless monthly and yearly fees, 

MondoTunes reaches over 750 retailers and mobile partners in over 100 

world regions without any monthly or yearly fees.” He stated that they are 

the only global distributors that assists in marketing and promotions in 

supporting artists efforts in getting music heard 

by the masses. They have a veteran team with 

familiarity and hands-on experience that covers 

songwriting, production, A&R, booking, tour 

management, marketing, distribution, media and 

licensing. MondoTunes boasts the largest music 

distribution in the world, and provides upstream 

services for many major labels in search of 

breakout artists. What makes MondoTunes 

unique, is their ability to provide the largest 

global digital distribution in conjunction with a 

comprehensive worldwide online marketing campaign 

to maximize artists’ hype and exposure. 

Artists retain 100 percent ownership of their own 

master recordings, publishing, and songwriting 

credits. My recommendation is very simple—750 

retailers in over 100 countries for under $38 an 

album. Check out http://mondotunes.com. 

With all the new changes in the music industry, the goal for any artist 

or indie label is to make their mark in history. It’s all about mastering 

“paradigm.” The most critical point to understand about paradigm is that 

in a paradigm shift, everything goes back to zero. What does that mean? 

It means that whatever made you successful in the old paradigm may not 

even exist or be necessary in the new paradigm. Sounds familiar, sure 

the old music industry platform and the old “brick and mortar” retail systems 

versus the new digital world of music with hundreds of online digital 

retailers, online radio and social media support! To master paradigm, you 

must be able to identify the paradigm shifts that are going on around you 

and position your brand accordingly. Position yourself for the future, which 

is now! Take advantage of corporate 

sponsorship partnerships, 

develop artists, build and expand 

your labels brand by finding the 

“choice” music aggregator in 

expanding your music worldwide 

while marketing your brand. 

MICRO-BIO: C. Michael Brae is the author 

of the new book, Music Distribution–Selling 

Music in the New Entertainment Marketplace 

(Vol.3). He is the Founder and CEO of Hitman 

Records. See http://hitmanrecords.com. 



10:00 PM 2:05 AM 2:47 AM 3:50 AM 

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