January 2023

In these MC interviews with four record label talent scouts, each reveals how he or she prefers to be contacted and the special qualities they're looking for in their artists.

By Andy Kaufmann

By Eric Harabadian

Photos by Travis Shinn

Gibson Maestro Pedals

By Steve Sattler

Gallagher/The Recording Studio Insurance Program

Dragonfly Creek Recording

dragonflycreekrecording.com

Contemporary Musical Arts Program at New England Conservatory

Gallagher, a global leader: Founded in 1927, Gallagher is a global leader in insurance, risk management and consulting services. More than simply an insurance broker, it is an international group of partners that provide cost-effective, client-centric and expertise driven risk management solutions. The company’s leadership team fosters a dynamic, entrepreneurial culture that has made Gallagher an innovator in creating new products and services for clients. One of the most unique of these is the Recording Studio Insurance Program, which was launched by insurance broker Joe Montarello over 20 years ago. As a musician with his own small home studio, he realized that the standard insurance coverage form was inadequate, because while it covered a traditional space and contents, the coverage didn’t speak to certain coverage needed for the recording gear or buildouts.

necmusic.edu/contemporary-musical-arts

History and Boundary Breaking Innovation: Founded in 1867, the New England Conservatory in Boston is the oldest independent conservatory in the U.S. and the only music school designated as a National Historic Landmark. One of the institution’s most dynamic and innovative crown jewels is its transformative Contemporary Musical Arts program, whose emphasis on ear training, technique, conceptual ideas, interdisciplinary collaboration and a wide range of improvisational traditions uniquely positions it to produce the complete 21st Century musician. Created under the name “Third Stream” by Gunther Schuller and Ran Blake, the CMA program is celebrating its 50th anniversary this year with concerts, residencies and conservatory wide collaborations during the 2022-23 season.

Perfect Blend of Natural Environment and State-of-the-Art Recording: Testament to Dragonfly Creek Recording’s compelling blend of relaxing, bucolic environment and state-of-the-art studio is the response AWOLNATION frontman Aaron Bruno had when he began working there in 2013—a year after veteran composer-producer-engineer-mixer Charley Pollard and his entrepreneur wife Anne Marie opened the private facility on their beautiful, expansive ranch property in the scenic hills of Malibu to outside artists. The band reserved the studio for three weeks and wound up staying for nine months. Bruno loved the area so much he bought a property nearby. Surrounded by lush vineyards and with horses and two goats roaming freely, the studio became a word-of-mouth success, attracting numerous up-andcoming bands and indie artists from a multitude of genres, and hip-hop performers being attracted to the chill environment. Dragonfly Creek has also been a top destination for big names like Lady Gaga and Mark Ronson (who stayed in the property’s guest house while working on her Joanne album) and top jazz cats like Tierney Sutton, Grant Geissman and Gordon Goodwin, who said the studio’s Yamaha C7 piano is the best he has ever played.

Eclectic Array of Musicians: Over the decades, it has launched and expanded the careers of artists from a multitude of genres—a Japanese koto player, a flamenco guitarist, singer-songwriters, klezmer musicians, world, jazz, folk, new music and rock musicians, artists specializing in Persian music and Latin jazz, an Arabic music scholar, a Tango vocalist and more.

Diverse Ensembles and Workshops: As Grammy-winning singersongwriter Sarah Jarosz has noted, the department “pushed me out of my musical comfort zone. There are no musical lines or boundaries that can’t be crossed. It is that adventurous spirit that makes the programming so unique and compelling.” The Boston Globe calls it “a forward looking cabal within this classical conservatory…a thriving hub of musical exploration.”

Currently, the department offers ensembles and courses that focus on African American Roots, Songwriting, Jewish Music, Interdisciplinary Collaboration (drawing on poetry, painting and dance for inspiration), World Music, 21st Century Repertoire, American Roots Music, Film Noir,

The Recording Studio Insurance Program, Getting a quote from Tracy Wronoski: Wronoski, Area VP for Gallagher, working with clients within the program since 2013 and becoming the primary Producer/Broker and Marketing Director for the program in 2021, says, “If traditional agents don’t understand recording studio culture, they may not ask questions about their gear or the studio buildout including acoustical treatments, soundproofing and floating floors. Typical insurance companies insure traditional reconstruction, but not the improvements and betterments for the studio space. We risk manage from the ground up, and every policy is customized to fit an individual owner’s needs.”

Studio Specifics: Dragonfly Creek’s main studio features a completely isolated tracking room with 12-foot ceilings, great light and variable acoustics, a large iso room for piano or drums and a small iso booth for vocals, single instruments or amps. The owners added a separate machine room to keep the noise floor very low in the Control Room so it can be used as an additional recording space. The control room was custom designed by George Augspurger, whose monitors are found in the top recording studios in the world. Pro Tools 12 HDX is the main workstation with Apogee Symphony providing 32 analog I/O. The collection of outboard gear includes Retro, Purple audio, DBX and Empirical Labs. Monitoring is by Shadow Hills and Barefoot Audio, and was fine-tuned by Bob Hodas. There is a wide assortment of mics, including tubes and ribbons as well as 24 channels of

mic pres. Clients can bring in their own engineers or benefit from the decades of expertise Pollard and his on-site team offer.

“Cobra” and “Hockey”),

Coverage Features and Clientele: The coverage is for all gear that belongs to the owner, along with similar gear of others that is in the owner’s care, custody and control. The policy features include: computer viruses, equipment breakdown coverage, coverage for borrowed/rented gear, theft by any party, full replacement value coverage, electrical disturbances, fire coverage, coverage for damaged media, comprehensive business liability coverage, and coverage for gear in transit and away from the studio. The program’s promotional flyer features praise quotes from Blackbird Studios and Record Plant Remote Electric Lady Studios. Another prominent client is The Village Recorders in Los Angeles. In addition to these high-profile clients, the program also includes private home and project studios and post house facilities.

Rebuilding to Create a Lifestyle Experience: The devastating 2018 Woolsey Fire completely destroyed the Pollards’ property—all except for the recording studio. The couple felt the ranch, the opportunity to make music and the relationships they had with their clients were too magical to give up on, so they decided to rebuild. Among the new additions for those seeking to stay on the property while using the studio are two bungalows: a one bedroom, one bath structure among the oak trees (with full kitchen and living room) and a creekside, two bedroom, two bath bungalow with a kitchenette. Their main five-bedroom, seven-bath house (with a pool) will be available to rent out in September 2022.

A Deeper Understanding: Wronoski says, “The most important difference between the Recording Studio Insurance Program and traditional policies is that we understand, for instance, the difference between a brand new API console and a vintage NEVE. We know the difference between Telefunken and Neumann mics and why their value is more excessive than a traditional insurance company would expect to cover. When a claim is filed, that’s when we shine. That’s when our clients need someone supporting them who understands what needs to be covered.”

The Pollards: Charley says: “I spent many years as a composer working by myself, and it’s been incredible being around, collaborating and recording with so many great musicians.” Anne Marie adds, “The studio looks like a barn from the outside, so I joke, you have your barn and I have mine with all my horses. The property serves both purposes for us.”

What Makes CMA Unique: The program is unparalleled for its emphasis on aural learning and development of personal style, with a structured approach to ear training involving singing, memorization, harmonic sophistication, aesthetic integrity, and stylistic openness. Renowned international violinist and vocalist Eden MacAdam-Somer, who serves as department Co-chair with Klezmer Conservatory Band founder Hankus Netsky, says, “What sets us apart is the opportunity to develop one’s personal voice through exposure to many different kinds of music, combined with a rigorous approach to aural learning, independence and creativity. The first step in any area is listening, then singing or playing back what you’ve heard, assimilating that into one’s own voice, repeating that process, re-examining it, and drawing on it respectfully in your own creative work. The point is that students develop a deep respect for and absorb the skills, sounds, and structure of many kinds of music which enriches their own work and, hopefully, their whole selves.”

Contact Tracy Wronoski, 518-242-7550, tracy_wronoski@ajg.com

Contact NEC Contemporary Musical Arts Program, 617-585-1388

Contact Dragonfly Creek Recording, 310-753-2067

John Zorn’s game pieces (including

Indian Modal Improvisation, Persian and Middle Eastern music, music and ecology, music and spirituality, and composition and improvisation.

ANDREW HURLBUT/NEC

Kate Willingham

Manager & Director of Digital Activist Artists Management

Activist Artists Management has announced the promotion of Kate Willingham to Manager & Director of Digital. Willingham will continue to report to Founding Partner Matt Maher for her management initiatives and she will now also report to Chris Ruff, Head of Global Marketing, regarding all digital marketing matters. In this expanded role, Willingham will support the day-to-day client teams and the relevant client social media strategies. She will liaise with clients’ outside digital agencies and run digital point for the Activist social media channels. For more, contact jv@spinlab.net.

Kimberly Weedmark

General Manager

ASM Global

ASM Global has appointed Kimberly Weedmark of Universal Studios Hollywood as the new general manager for the Los Angeles Convention Center. Weedmark has worked in the L.A. convention space for over two decades. In Weedmark’s new role, the former vice president of special events and group sales of Los Angeles’ most popular tourist attraction will work closely with the City of Los Angeles to grow even more beyond what is already one of the industry‘s leading convention halls. For more, contact jim@ breakwhitelight.com.

Melanie Ainsworth

Chief Financial Officer Position Music

Position Music has hired Melanie Ainsworth as Chief Financial Officer for the company. Prior to joining Position Music, Ainsworth served as the financial controller for Big Machine Label Group (BMLG) in Nashville, TN for eight years. While at BMLG, Ainsworth managed the daily financial operations of Big Machine Records, The Valory Music Co, BMLG Records, and John Varvatos Records as well as BMLG’s publishing arm, Big Machine Music. With Ainsworth on board, Position Music now has 35 full-time employees on staff. For more information, contact deborah@drpr.us.

Vicki Giordano

Studio Manager Evergreen Studios

Evergreen Studios has welcomed Vicki Giordano as Studio Manager of their historic facility in Burbank CA, Giordano's long history in the recording world includes working for Hollywood Sound Recorders from 1986-1996, Audio Affects from 19962002 DMT (Digital Music Technologies) from 2002-2010, The Bridge from 20102018 and The MixLab in Santa Monica from 2018 to 2022. Her duties at these newly upgraded studios include booking time in both the live room and the Dolby Atmos Stage, new hires, property management, social media, etc. For more information, visit evergreenstudiosla.com.

Brad Wood

Producer/Mixer

Joe D'Ambrosio Management, Inc. Joe D’Ambrosio Management, Inc. has announced the signing of renowned record producer, mixer, musician, and Dolby Atmos mix specialist, Brad Wood Brad is most well known for producing the stellar debut album by Liz Phair, Exile in Guyville. While working in Chicago at Idful Music Corporation, Brad produced the debut albums by Sunny Day Real Estate, Veruca Salt, Placebo, the Smashing Pumpkins and Ben Lee. Today, Wood works out of his own facility, Seagrass Studio, in California, producing for Say Anything, mewithoutyou, The Bangles, Sherwood, Touché Amoré and more. Contact joe@jdmanagement.com.

Jimmy Espinosa

President

Sie7eTr3 The Label

Sie7eTr3 The Label, one of the key labels in today’s Latin trap scene, has announced that Jimmy Espinosa, who was managing one of its marquee artists, rapper Chucky73, will take over as the company’s President. Espinosa is a renowned entrepreneur in the music industry and has worked with Sie7eTr3 The Label for years. He is also CEO of Yo Yais Music, LLC, a pioneering label in propelling the Spanish trap movement in New York and Latin America to the forefront. For more information, reach out to monica@ the3collective.com.

Stewart Millager Senior Executive Officer

64 Audio

64 Audio has announced the promotion of Stewart Millager to Senior Executive Officer. Millager has been with 64 Audio since 2017, most recently as Chief Operating Officer, and prior to that he led the company’s R&D team. Millager will now create and maintain 64 Audio’s business processes based on Vitaliy Belonozhko’s strategic vision. He will also create synergy and keep the company’s staff working on the same sheet of music, making sure 64 Audio’s mission and values are understood and represented every day. For more information, contact charlie@crl-pr.com.

Adam Wright

Chief Financial Officer

Merlin

Merlin, the independent’s digital music licensing partner, has named Adam Wright as its new Chief Financial Officer

A strategic new leader on the Merlin executive team, Wright is an innovative and values-based finance executive with a passion for working with creative entrepreneurial ventures. Wright comes to Merlin after three years as director of finance for Creative Artists Agency (CAA) overseeing its brand licensing business in Europe, Middle East, and Africa. Based in the U.K., Wright will be responsible for all of the organization’s financial, treasury, and tax functions on a global basis. Contact crystal@thepresshouse.com.

DONNER MUSIC ARENA2000

The Arena2000 is a sampling guitar pedal aimed at instant creativity and developing your own unique musical sound because of its powerful DSP and careful design. It uses impulse responses of up to 23.2ms long in their FVACM or Forward Analog Virtual Circuit Modeling technology. I enjoyed using any of the 80 amp models and the 50 cabinet simulations—a lot!

This is a floor unit with an expression pedal; it also has 50 memory slots for loading third-party IRs and there are 278 effects onboard and a wide range of classic guitar tones from modern "on the radio" sounds to highenergy blazing flourishes to majestic and soaring melodies.

I liked the customizable CTRL control mode, built-in EXP1 expression pedal, and using an external EXP2 expression pedal allows musicians to switch their tone library in seconds with just a tap of their foot. Compact control panels and simple navigation rules help get you around Arena fast and efficiently to build beautiful sounds easily.

The built-in Looper plays clips up to 60 seconds long and there are 40 different drum rhythms available. You can self-produce and play demos or perform live as a "oneman" band with the Arena2000 playing the entire backing track. A headphone output allows for music creation in all volume settings. Use a connected USB-C cable to connect to your mobile phone too. The possibilities are pretty incredible if you get into this new Donner system.

The Donner Arena2000 is available now and sells for $269 MSRP donnerdeal.com

MERCURY EXTREME/ELECTRA PRO 6G SSD FROM OWC

Sustained write performance becomes crucial in music, post-production video editing—anytime large volumes of data are being transferred, even a slight drop in performance will affect quality and slow the whole production. Once cache is used up, certain drives drop to 50-60MB/s but the Mercury Extreme Pro 6G is up to 10x faster than hard drives whose peak speed is slowed with as little as 2-3 percent of drive written.

OWC sent a 4.0TB Mercury Electra 6G SSD for evaluation and I am very impressed as used for an internal audio drive for use with my large Pro Tools HDX rig where I mix songs from hundreds of tracks, high sample rates, and video streaming all at the same time. In about an hour, I copied 1 TB of session data from another internal SSD. Pretty good for my old Mac.

The Mercury Extreme Pro 6G SSD offers the same speed as the Elektra with the Extreme built with more robust components. The Extreme was launched nearly a decade ago, built to be the fastest, most reliable, and most extended endurance 2.5-inch SATA Solid State Drive available on the market with up to 5X faster performance over the entirety of its capacity compared to other drives.

I now have four OWC SSD drives running inside my 2010 dual four-core Mac Pro and performance is excellent and feels like a newer computer!

The Mercury Extreme Pro 6G SSD delivers sustained real-world-tested read/write speeds over 500MB/s throughout its storage capacity. You'll have faster boot-ups and less waiting (SWODs) when calling up big sessions!

Pricing for the OWC Mercury Extreme Pro 6G 2.5-inch SSD product line-up are: 240GB $69.75, 480GB $119.75, 1TB $199, 2TB $369, and 4TB $799. As tested, the 4TB Mercury Electra 6G sells for $579 MSRP. eshop.macsales.com/shop/SSD/OWC/Mercury_Electra_6G

TRX DARK DX SERIES CYMBALS

The TRX Cymbal Co. has announced the introduction of its new Special Edition DX Series. This is a new addition to the high-performance, handcrafted Special Edition line that offers a darker, drier tonal option to the existing KX (mid) and AX (bright) range. This DX Series expands the company’s high-quality line with more options and sounds for your drummer.

Available in a full selection of affordable Rides, Hi-Hats, Crashes and Effect cymbals, TRX Special Edition DX cymbals are currently played by 2008 Guitar Center Drum-Off Champion Jerome Flood, Jr. and 2014 Hit Like A Girl winner Fer Fuentes. But the TRX line has already gained a growing number of fantastic and popular drummers.

Check the website for cymbals and prices, call 818-7513257 or sales@trxcymbals.com. trxcymbals.com

AUSTRIAN AUDIO OD505 HANDHELD ACTIVE DYNAMIC MIC

The OD505 is a handheld active dynamic microphone that has nearly the same sensitivity as a studio condenser microphone. This is because of its state-of-the-art dual capsule design; its sensitivity is measured at 4.4 mV/Pa. The additional passive, bottom capsule is mounted directly under the main capsule and, because of the mic's Open-Acoustics-technology and bottom port design, picks up sound oppositely from the front capsule and is wired in reverse polarity.

Both capsules are super-cardioid for very directional pickup and perfect for soft-spoken singers on stage who sometimes have problems with feedback because of excessive mic gain used with regular dynamic mics by the PA mixer. The die-cast body and solid construction both lend to this mic's heft, balance in your hand as well its ruggedness and longevity!

There is an on-mic switchable 120Hz, 2nd order high-pass filter (6dB/octave) plus the integrated 3D Pop Noise Diffusor will keep plosives to a minimum. Noise from handling, bumps, and stage rumble are mostly non-existent.

I have deployed this mic for podcasting, singing vocals here at my studio as well as an instrument mic for guitar amps. Thumbs up all around!

The Austrian Audio OD 505 comes with a mic clip and carrying case and sells for $299 MAP. austrian.audio/od505

API NEW SV12 AND SV14 SELECT SERIES MODULES

Automated Processes (API) adds two new 500 modules to their Select range. Both modules are designed, built and tested at the API factory in Jessup, Maryland, USA.

The API Select SV12 features the original compressor circuit designed for the ATI Paragon live analog mixing. There is full LED metering of both output and gain reduction and includes API’s patented THRUST® circuitry. Two SV12 channels can be linked for use as a stereo compressor with true RMS power summing of the left and right signals.

The API Select SV14 EQ circuit design is re-engineered from the highly sought-after APSI 562 EQ's that came out in the 1970’s and 80’s. The SV14 also features an EQ in/out switch, transformer-balanced output, and dual concentric knobs that provide continuously variable control of boost/ cut and frequency selection.

Both units sell for $595 MSRP each and are now shipping. All API Select products feature API's industryexclusive five year warranty. apiaudio.com

EVENTIDE PHYSION MK II

Physion Mk II gets SplitEQ's improved Structural Split detection algorithm to split incoming sound into two separate streams: transient audio and tonal or sustaining sounds. Physion Mk II allows customizing the exact way the split algorithm works with the Smoothing and Transient Decay controls in the Structural Split interface.

Compared to the original Physion, I found many more mixing and creative applications and smoother operation, plus the included collection of over 500 well-organized presets are useful starting points for this deep plug-in. Go there first to get something happening now!

The resizable GUI zooms in to dial in effects easily without splitting; you have the ability to crossfade between two, multi-parameter stereo effect chains. But with the Structural Split enabled, the real power of Physion Mk II starts by choosing an algorithm for your source audio from a list of 14 for: Full mixes, Vocals, Drum kits, Piano/Synths and others. Once you've decided, there are three controls to further customize the exact way Structural Split works.

The Focus fader splits the sound source's energy to drive more or less energy into either the Transient and Tonal processors. You can further edit by using the Smoothing control to adjust how fast the split audio divides. The Trans Decay delays the moment when transients are routed to the tonal side. If I crank up Trans Decay, it can have the affect of choking off attacks very noticeable on drum tracks.

Transient effects include: Delay, Tap Delay, Dynamics, a Phaser, Reverb, a Gate + EQ, cool Reverse Delay with gating, Ping-Pong, and crystals modes. Tonal effects include Delay, Dynamics, Eventide's new polyphonic pitch algorithm, a beautiful Tremolo and a luscious Chorus, Reverb, EQ, and Reverse Delay.

Way too much to fit in here, so go download a trial and put it on guitars, vocals…anything! It sells for $179 MSRP and cross-grades are available from the original Physion and SplitEQ. eventideaudio.com/plug-ins

BARRY RUDOLPH is a recording engineer/mixer who has worked on over 30 gold and platinum records. He has recorded and/or mixed Lynyrd Skynyrd, Hall & Oates, Pat Benatar, Rod Stewart, the Corrs and more. Barry has his own futuristic music mixing facility in North Hollywood called Tones 4 $ Studios. He is a lifetime Grammy-voting member of NARAS and a contributing editor for Mix Magazine. barryrudolph.com

How to Make It in the New Music Business: Practical Tips on Building a Loyal Following and Making a Living as a Musician, 3rd Edition

Power 101: The Harvard Report, Soul Music and the American Dream

By Dr. Logan Westbrook and Schuyler “Sky” Traughber (paperback) $31.85

By

Ari Herstand (hardcover) $37.50

We’ve called previous editions the “best howto book of its kind,” and once again we have the opportunity to endorse this super-helpful compendium of career advice for musicmakers. Herstand, known also for his site Ari’s Take, is an experienced artistmusician himself and he knows first-hand the terrain of today’s music industry minefield and how to navigate it successfully.

T Bone Burnett - A Life in Pursuit

By Lloyd Sachs (paperback) $17.99

Sachs offers the first critical appreciation of Burnett’s wide-ranging contributions to American music, his passionate advocacy for analog sound, and the striking contradictions that define his maverick artistry. The book explores his early days as a member of Bob Dylan’s Rolling Thunder Revue, the revolutionary soundtracks he supervised for the Coen Brothers’ movies, his production of Plant/Krauss’s Raising Sand, right up to current projects.

Recording & Mixing Drums Contrasting Techniques from Seven Lifetimes of Recording Experience

Westbrooks and next-generation Schuyler "Sky" Traughber, who worked at Stax, Motown and CBS Records, take us on a music biz rollercoaster ride of personal and public domain stories. It covers decades of controversial revelations of how "The Harvard Report" may or may not have lived up to its reputation of being both Dr. Jekyll and Mr. Hyde the Savior and the Demon of what Black Music became during this tumultuous period culminating in the uncertain state of Black Music today.

RetroBlakesberg:

Volume One: The Film Archives

By Jay Blakesberg (hardcover) $65.00

This coffeetable book is a photographic journey through the decade-by-decade evolution of fashion, music, and musical subcultures. Artists included are the Grateful Dead, Rolling Stones, Nirvana, Green Day, Red Hot Chili Peppers, Joni Mitchell, Neil Young, Radiohead, The Flaming Lips, Michael Franti, and many, many more. With a foreword by Flaming Lips frontman Wayne Coyne and an introduction by Franti, RetroBlakesberg paints a solid picture of a 40-plus-year career in photography.

By

METAlliance (paperback) $69.95

An in-depth look at these two processes from the METAlliance team of top engineers and producers—including METAlliance members George Massenburg, Niko Bolas, Chuck Ainlay, Elliot Scheiner and Frank Filipett— dedicated to the highest standards. The book also helps the reader develop the "people skills" needed to coax the best performance out of a drummer.

I Am The Warrior: My Crazy Life Writing the Hits and Rocking the MTV Eighties

By Holly Knight

(hardcover) $30.00

Taking readers back to the go-go ‘80s of big hair, extra-large egos, wild parties, and wildly popular music videos,  I Am The Warrior  reveals how Holly Knight broke into the rock scene and became one of its most in-demand songwriters. Knight draws you in and injects her memoir with plenty of honesty, humility, and humor.

Milestone Publicity

milestonepublicity.com

A Passion for PR: There’s a certain brilliant irony to the fact that the major sub-headline on the “about” page of Milestone Publicity reads, “We Live and Breathe Publicity.” When Founder/CEO Mike Gowen, who launched the full-service Nashville-based firm in January 2019, followed his love of music to the Musicians Institute’s Music Business Program, he didn’t even know PR was a thing.

Everything changed when Gowen took an internship at a public relations firm and realized the importance and impact a diverse, strategic PR campaign could have on an artist’s career. Throughout the next decade, working at several prominent firms in Los Angeles, he learned the ins and outs of the business, developing what he calls “different layers of experience” working with both icons and unknown indie artists in a multitude of genres. “From the beginning,” he says, “I learned that successful PR is about building and nurturing relationships. Once I got to the point where I had all the systems in place and was able to have clients perform on late night TV and appear on prominent magazine covers, I felt my experience and risk tolerance level were at a point where I felt I could launch my own firm.”

Clientele: Over the years, Gowen has worked with countless icons of all genres, including Aerosmith’s Joe Perry, Andy Grammer, Billy Idol, Brian Setzer, Dada Life, Dream Theater, Dwight Yoakam, Godsmack, Heart, Jerry Douglas, John Fogerty, Kiefer Sutherland, LIVE, Michael Franti & Spearhead, Sex Pistols’ Steve Jones, System of a Down’s John Dolmayan, The Smashing Pumpkins, Tommy Emmanuel and Wynonna Judd. His current clients include Dave Stewart (inducted into the Rock & Roll Hall of Fame this year as Eurythmics co-founder), Lonestar, Gaby Moreno, independent pop/folk artist Theo Kandel, the music trailer company Ghostwriter, a Nirvana NFT series and Compass Music Group, among many others.

Milestone’s Mission: The firm is a blend of traditional big picture visionaries and modern-day PR specialists. Gowen and his team understand how to navigate the micro and macro media spaces that consist of blogs, podcasts, print publications and their online counterparts, radio, regional and national television with an unparalleled work ethic. Their focus is to effectively and impactfully tell their clients’ stories through secured media coverage and generate overall awareness. They do this by leveraging a combined 25 years of experience working closely with the entire media landscape, taking a nuanced approach to each genre and having a keen understanding of the art of the pitch and capturing widespread interest.

Cultivating PR Careers: Gowen chose not to name his company after himself because he felt it would create a ceiling where all its growth and development would be tied to him solely, rather than a culture where every publicist can thrive. In addition to helping artists, his goal with Milestone Publicity is to help the people next in line; giving young publicists a chance to launch and develop careers “so that those who work at Milestone can get to where I am now at a faster, more efficient pace. He plans to expand the company to include a Los Angeles office in the near future.

Contact Milestone Publicity, Jessica Bonner: jbonner@milestonepublicity.com

MIKE GOWEN

EVERGREEN ENTERPRISE EXPERIENCE BASH

Neil Portnow and Harvey Mason, Jr., partners in the Evergreen Enterprise Experience held an amazing grand opening at the newly refurbished Evergreen and Enterprise Studios in Burbank, CA. This new undertaking in these world class facilities with a long storied history’s, is designed as a one-stop shop for composers, producers, writers and content creators. MC cameras caught a plethora music industry luminaries and music creators including (l-r): Evergreen Facilities Studio Manager Vicki Giordano, Partner Neil Portnow and Capitol Studios VP of A&R Paula Salavatore. More info at evergreenstudiosla.com.

FETCH FIONA APPLE

Fiona Apple released five albums from 1996 to 2020—the fifth, Fetch the Bolt Cutters, earned her two Grammy Awards. More recently, Apple performed on "Where the Shadows Lie" in  The Lord of the Rings: The Rings of Power finale, featuring Apple singing the Ring Verse inscribed upon the One Ring. Apple is pictured at Stanley Recordings, owned by John Would, who is the father of drummer/collaborator and FTBC co-producer Amy Aileen Woods.

BRIAN WILSON AT TOMORROWLABS

Beach Boys founder Brian Wilson recorded at TomorrowLabs Studios in Los Angeles with longtime bandmate, producer, collaborator and friend Darian Sahanaja, lockedin behind a Kurzweil PC3K8 Legacy Workstation.

SILK SONIC FRONT-OF-HOUSE MORALES

Silk Sonic returned for a third leg of their residency in Las Vegas at the 5,200-seat Dolby Live theater at Park MGM hotel and casino. At front-of-house and monitors, Ramon Morales is using Solid State Logic Live L650 mixing consoles. “Having the SSL bus compressor on subgroups changes everything. The EQs and the dynamics on the SSL Live feel like the real deal.”

“We don’t simply do reissues. We do [a record] when there’s a compelling story or an interesting reason to do it. I fill in missing pages of an artist’s career.”

–

CHERYL PAWELSKI (Legacy Collections of Hank Williams, The Band)

MUSIC OF THE WORLD CUP

BUSBOYS AT UNITED RECORDING

Prism Sound audio conversion played a key role in the creation of music for the opening and closing ceremonies at this year’s FIFA World Cup in Qatar—all of which was recorded and mixed at Katara Studios in Doha. Pictured is Youki Yamamoto conducting the orchestra at Katara Studios.

WOMEN'S AUDIO MISSION WITH IMAGINE DRAGONS

ROUND MIDNIGHT RECONSIDERED

Imagine Dragons bassist, Ben McKee, an outspoken activist on gender equality in recording, came to Women’s Audio Mission’s San Francisco studios to tour the facilities, speak to the staff and, of course, to record. “The people that are engineering the recording sessions that you hear, or podcasts, or music—less than 5% of those people are female or gender-diverse and WAM is working to change that.”

Thelonious Monk’s most revered ballads were interpreted by Bay Area guitarist and composer John Schott and an all-star group of improvisers in a continuous eighthour exegesis, streamed online as the centerpiece of DAWN, a bold reimagining of the Jewish holiday of Shavuot by the national arts and culture non-profit Reboot.

NATALY DAWN OF POMPLAMOOSE

ALEXANDRA JOHN IN LOCKDOWN

Berkeley-based roots singer-songwriter Nataly Dawn (known as one-half of crowdfunded YouTube sensation Pomplamoose) received a cancer diagnosis in the middle of the pandemic and realized she needed to give herself the space to breathe and reflect. The result is Dawn’s most introspective work to date, Gardenview, recorded in one week at 64 Sound in Los Angeles.

Twins Liza and Weston Cain perform and record together as Alexandra John. Says Liza, “In this photo, we're recording our third single "Lock Me Down" at our place in Los Angeles. We started writing for our EP back in spring of 2020. We were at our mom's house in Sonoma, CA, recording out of her garage at first and moved to her cottage and even made our own iso booth in a closet. We recorded a lot of songs there from our EP.”

Los Angeles-based rock, roll & soul band The BusBoys returned to United Recording in Hollywood for their new album, InMyHeart. It's their first recorded at the studio since their controversial 1982 "American Worker" record. Pictured (L-R) at United Recording are Jon Graves, chief recording engineer; Claude Woods, vocalist; Brian O'Neal, founder and Busboys lead vocalist; Scott Moore, United staff engineer; Jon Knox, drummer; and Jeremie Inhaber, recording engineer.

JIM VANCLEVE

One night when he was five, Jim VanCleve was with his parents at a local steakhouse. He was tapped to play a train whistle alongside old-school Tennessee fiddler Ralph Blizard and a life devoted to music thereby drew its first breath. He now plays fiddle with Nashvillebased outfit Appalachian Road Show and produced the band’s 2022 record Jubilation

As a protégé of country producer Mark Bright, the lessons he learned about the emotions a band is trying to convey and the best ways to deliver them have never left him. Artists with which he’s recorded include Carrie Underwood and the Louvin Brothers, among many others. He was also a member of bluegrass/country/blues audio collective Mountain Heart, which was signed to Ricky Skaggs’ label Family Records.

VanCleve’s biggest obstacle during the production of Jubilation was facing the ever-present danger of exhaustion. “I was trying to make this record a work of art rather than just a few songs on tape,” he recalls. “Burnout from the wear and tear of the road and never having a day off was a challenge. As far as capturing the performance, there were some logistical issues. But I had access to several pieces of the world’s finest gear and our tracking engineer [Grammy winner] Shani Gandhi is one of the best in Nashville.”

Much of Jubilation was crafted at VanCleve’s home studio, which he built with his father. “We lucked into a nice property that was perfect for mixes,” he says of the founding of his space. “We spent a good amount of time, effort and energy holding mirrors against walls to make sure we got all our points of reflection taken care of. A lot of math was done to kill all of the junk. Shani let me borrow some gear and I brought home a [Neumann] U 47, a 67 and a few other pieces. I had all of the tools and toys and was pleased with the results. It does our genre and band justice and that was a goal.”

. . . lessons he’s learned as a musician and producer are:

• As you mature, you see that the best thing you can do is put great talents together and get out of the way. Don’t stifle the situation with your ideas, personal wants and desires. Learn how to listen.

• The magic happens when people are free to express themselves. Set the table for that.

• Trust your instincts but learn to defer. It’s an exercise in removing self.

The track “Tonight I’ll See you in My Dreams” was penned following a 10-hour marathon rehearsal. Conventional wisdom among artists is that when a person approaches exhaustion, self-doubt is blunted and ideas can spring forth unopposed. “I often get creative when I drive late at night,” VanCleve explains. “You get into your flow state of thinking and the inner critic shuts up. That’s what happened that night. We were relaxing and I said ‘I wish we had something like a 1953 [Lester] Flatt and [Earl] Scruggs song. Let’s write one.’ In 45 minutes we had a finished piece. Typically, that’s not how I’d do it. But it was supposed to happen that night and it almost wrote itself.”

The musician and producer has spent much of his career in and around studios, not the least of which is his own. He’s stockpiled countless anecdotes over the years but among his favorites is of the time when a guitarist wandered a little too far afield from a song’s intended direction. “We were cutting a record with Mark Bright,” VanCleve recollects. “I brought in an instrumental and it was a handful. I hadn’t written it for guitar and our guitarist was doing his best. I’d stepped out of the studio, he tore into it and played off the cuff. It was nowhere near the melody and a bandmate said ‘Hey, that’s real good. What is it?’ He’d departed so far from [the original idea] that he hadn’t played the song, although what he did was great.”

Contact – theappalachianroadshow.com, Instagram @appalachianroadshow, @jimvancleve

Nicholas Judd

CEO & Founder Leftbrain and RYLTY

Years with Company: 4, Leftbrain; 1, RYLTY

Address: Los Angeles, CA Phone: 213-344-2728 Web: useleftbrain.com; rylty.io Email: njudd@useleftbrain.com Clients: Influence Media Partners, Doja Cat, Troye Sivan, J.I.D, Yeti Beats

BACKGROUND

Nicholas Judd created the artist management company known as Leftbrain in 2019. Services include budget forecasting, credit consultations, and royalties administration, the latter of which inspired a spinoff venture, dubbed RYLTY.

Finding a Niche

I knew I wanted to work in the music industry, but I could never be a musician. I went to Syracuse University, primarily because they have a strong music industry program, and then became a business manager. I started my career at a large firm. I fell out of love with business management, because it didn’t feel like I was providing value to the artist. So, I left the artist side and started a consulting firm, Judd Financial.

Business School Revelations

Before starting Judd Financial, I took the GMATs. I was like, “Maybe I want to go to business school.” They last five years before they expire. I said, “It’s about to expire. Let me swing for the fences.” So, I applied to University of Chicago’s School of Business to get my MBA, never thinking I would get in. I think there must have been another Nicholas Judd with a better resume than mine and they got us mixed up. I’m sitting in class with some of the smartest people ever when it comes to math, yet they were very normal people. I know there’s going to be somebody in this room who creates the next billion-dollar company. Why couldn’t it be me?

Sparking Leftbrain

I’m in the middle of my business school education while running my consulting company realizing I could do more. I went back to my earlier days in business management and thought about some of the problems that exist there.

At the same time, I met this incredibly smart attorney and entrepreneur, Josh Kaplan. Josh would go on to be the artist manager for Doja Cat and Tyga, but at the time he was primarily an attorney. I sat down with him for coffee. He had one client who was decent size who must’ve burned through two or three of the top business management firms. [This artist] was saying there’s no transparency. It’s impossible to get in touch with people. It doesn’t feel like there’s any value being created. That was the trigger for me. This is what I can do to go from being a footnote in the music industry history book to potentially getting my own chapter.

Technology-Minded

How could we rebuild business management through the eyes of the artist and the artist’s manager? We realized technology held the key. We would dive deep into a problem and then either build technology to solve that problem or find some preexisting technology we could customize.

The first thing we built was a client-facing app. We could give our clients access to QuickBooks Online, but there was no way the information was going to be well received by a creative individual. So, we built an app that takes the data from our accounting systems and [displays] that information in a way that’s receptive to creative individuals. We used a lot more imagery and honed in on the points of information a creativeminded individual could use.

Then there are internal tools. We have a tool that allows us to search across clients and track analytics. In two seconds, I could let you know the average response time to an email or text message, which allows us to create these metrics and KPIs that nobody else has.

Birthing RYLTY

The pandemic hits and touring goes away. Clients start calling. “You know that song I have? I don’t think I’m getting all the royalty payments from that.” The typical response from a business manager is, “We’ll look into it.” They’ll pull up the statements and see if the song shows up. And when it does, they’ll say, “Yep, you’re collecting on this.”

That wasn’t good enough for me. I wanted to go back to clients with certainty they were getting paid every amount they were owed. I

hired Andrew Ullah. He would become one of my cofounders at RYLTY. He spent an enormous amount of time looking into what would prevent a song from being paid the full amount. He found results.

Now, we’ve identified a problem and found a solution. How can we use technology to make this commercially viable? The amount of time it took to analyze a musical work went from hours to minutes. We enrolled 30 of our clients and clawed back over a million dollars of prior period royalties. Because we were actually fixing the problem, those same clients saw a bump in their revenue streams that amounted to in excess of 10 million dollars. It was at that moment I was like, “We need to offer this to the world.”

Get a Lawyer

It’s important to have a qualified attorney on your team, one who specializes in music and has experience. While they won’t be able to prevent the types of errors that are causing you to not get paid, they should at least make sure you’re registered in all the right places.

Self-Publishing Songwriters Must Register

A lot of people don’t know self-published songwriters have to register as a songwriter and a publisher. If you don’t register on both sides, you’re only getting half your royalties. That’s one [oversight] our technology would absolutely find.

Songtrust

Rather than registering your songs with the MLC, the PROs, and all that, go to Songtrust. It’s a no-frills, dirt-cheap service where you send them information on your songs and they make sure the songs are properly registered. They’ll do the administrative work surrounding collecting your publishing.

The only downside is they lock you into a one-year agreement. If your career’s taking off and you’re going to sign a publishing agreement soon, then it’s probably not the best move. But if you’re over a year away from talking with publishers, have Songtrust collect on your behalf. It’ll make your life a lot easier.

Problems With Royalty Audits

Royalty audits are prohibitively expensive. You’re looking at $30,000 to $50,000 without a guarantee of what they’ll find. It’s also narrowly focused. RYLTY finds problems across all revenue streams; with an audit, you’re only going to get a handful of those.

It also triggers audit rights, which means you have to wait a number of years before you’re allowed to do it again.

Third, if you took an advance and you’re deep unrecouped, you’re still going to pay. If they don’t find enough to recoup you, you’re going to come out of pocket and not see the benefit. You may recoup faster because of it, but you’re still paying for something that you’re not immediately benefitting from.

“If you don’t register as a songwriter and a publisher, you’re only getting half your royalties.”

OPPS

Warner Music Group Wants a Deal Specialist

The assistant role will provide support to the President/Manager of the company and day-to-day management support for clients. Typical assistant duties: roll calls, manage schedule for President. Handle logistics for President and some clients, including flights, hotel, grounds, itineraries, create budgets, etc. Session scheduling/ maintain calendar for producer client. Product management for the label side of things. Heavy invoicing—Creating and sending invoices for multiple accounts. Apply at ShowbizJobs.

Universal Music Group is Looking for a VP Oversee the planning, budgeting and travel for tours and promotional events for artists of the CMG Labels. Manage, mentor, train and support the Artist Relations staff as needed. Work with Managers, Tour Managers, and various CMG departments (Marketing, Digital Media, Publicity, Video and Radio Promotion, Sales, and International Marketing) to create, approve, and execute promotional opportunities for assigned artists. Prepare and maintain accurate and comprehensive daily itineraries for assigned artists that include all elements of daily promotional and tour activities. Apply at J and J Body Shop.

Moonbug Entertainment needs Music Production Coordinator, Cocomelon & Little Angel

Reporting to the Music Production Managers, you will be coordinating the music production for multiple children’s brands, and will be able to organize assets including audio stems, cue sheets, budgets, purchase orders, and contracts on time for delivery deadlines. Coordinate multiple projects simultaneously—ensuring audio and metadata is complete and all necessary approvals are finalized by MPMs. Track production schedules and delivery deadlines for releases. Apply at WREG Jobs.

Sony Music Entertainment US wants a Director A&R

You will identify, sign and develop songwriters, writer/producers, and writer/artists across popular genres including pop, hip hop, R&B, and alternative. You will also be connected and trusted among artists, writers and producers and their managers, and will be effective at securing co-writes, collaborations, cuts, covers and other uses of compositions by Work of Art Music Publishing writers. Seek out and sign songwriters and producers with world-class talent and strong commercial potential. Apply at Salary.com.

For More Career Opportunities, check out musicconnection.com daily. And sign up for MC’s Weekly Bulletin newsletter.

LABELS•RELEASES SIGNINGS

Lisa O’Neill Signs to Rough Trade Records. Evocative Irish

MARY BRAGG

Producer and musician Mary Bragg has been singing since before she can remember, a fact that has been caught on family home videos.

“I grew up in a big, southern family, where singing in school and in church was a primary pastime, and I started playing guitar in high school at church camp, where somebody taught me how to play ‘Closer to Fine’ by the Indigo Girls,” Bragg says. “Santa Claus brought me my own Martin DM in 1998, and that is still my primary acoustic guitar to this day.”

Bragg defines her “I wrote my first song in high school...” story as cliche, but it was born out of grief from losing her cousin. She moved to Nashville in 2013 and started taking her writing seriously.

Nowadays, the artist describes her sound as “song-obsessed folk-Americana complete with lush guitars and harmonic layers to support the lyric.” And she’s doing just fine with it.

“Being a winner of the 2017 MerleFest Chris Austin Songwriting Contest was a feather in my cap that I really needed at the time, or at least that’s what I told myself,” she said.

“Producing a record of my own for the first time (Violets as Camouflage) in 2019 was another big turning point, when, I liked what I’d made, and it seemed other people did, too.

”The term [DIY] usually sends the conversation to the business side of things, which of course can be a rabbit hole of a topic, but in a musical sense, DIY is a real gift,”

HUNTER DAILY FINDS THE SKELETON KEY

Los Angeles singer and songwriter Hunter Daily has released a new single and video of the track “Skeleton Key.” “’Skeleton Key’ is about a relationship that inevitably has to come to an end because you are no longer a match, like a broken lock and skeleton key,” Daily says. Contact erin@tellallyourfriendspr.com for more info.

music songwriter Lisa O’Neill has signed with Rough Trade Records. Her debut release for the label will be the All of This is Chance album, out Feb. 10. Taking cues from traditional Irish musician Tony McMahon and poet Patrick Kavanagh, the record is a truly authentic affair. “Throughout all eight songs on this album, it feels like she is writing in a constant state of wonderment,” reads a statement. “Not only a portrait of the artist in love with nature, but one perplexed by the ever-expanding gulf between it

and modern society.” Contact taliamiller@roughtraderecords. com for more info.

London-based electronic artist The Blessed Madonna has signed to Warner Records. Kentucky-born, London-based artist, DJ and producer Marea Stamper, aka The Blessed Madonna, has signed to Warner Records and celebrated with new single “Serotonin Moonbeams.”

“We talked about what it was like to fall in love in the Vicks Vapo-rub, candy soaked raves

Bragg says. “The call and challenge to do it—the work —yourself, couldn’t be a sweeter gift, since having the ability and privilege to express yourself with your voice or an instrument is pretty unbeatable.”

Bragg’s latest release is “Hard Time,” taken from her new album.

“‘Hard Time’ is a pandemic song written on the front porch of my good friend and co-writer on this song, Caroline Spence,” she said. “I loved that day. It was so surreal to be writing in person again after what seemed like a decade of Zoom writes. That song is on my new selftitled album, which was recorded during the pandemic, mostly remotely, in Nashville and New York, where I live right now.

For more, visit marybragg.com.

SHERVIN LAINEZ

of the ‘90s,” said The Blessed Madonna in a statement. “It’s about ‘cuddle puddles’ and the intense emotional, physical and spiritual connections that can form when serotonal conditions are right. Barriers that might exist in a normal dating atmosphere evaporate and strangers can become intimate and beloved figures in an instant. It’s gotten an incredible response since I tested it the first time in Brazil on tour.” Contact darren.baber@ warnerrecords.com for more info.

Melodic metal troupe Swansong signs to Noble Demon. The deal for Finnish band Swansong is a worldwide one with the German label. “We are honored and excited to announce, that we have started to work on our first fulllength album with Noble Demon Records,” said Swandong. “This is HUGE for us! The recordings for the album have already begun. We want to THANK YOU ALL, this is all for you! Thank you Noble Demon for seeing our potential. We are grateful to join the impressive Noble Demon roster with many awesome bands.” Contact shauna@odonnellmediagroup. com for more info.

PROPS

The first U.S. residency for the multi-room One Love Experience will be held at Los Angeles’ Ovation Hollywood from Jan. 27-April 23. Visitors will see the reggae music legend’s entire Rock & Roll Hall of Fame archive at the exhibition, alongside previously unseen photos, rare memorabilia, concert videos, guitars, lyric sheets, sneakers, a Marley-branded jukebox, and Marley-themed artwork inspired by the star. There will also be a silent disco in the venue with headphones at the Soul Shakedown studio, where fans can dance along to Marley’s music. Tickets are available online.

BRETT CALLWOOD has written about music for two decades, originally for Kerrang!, Classic Rock, Metal Hammer and more in the U.K. He’s the author of two books, about Detroit proto-punks, the MC5 and the Stooges. He’s now the music editor at LA Weekly, and has regular bylines in the SF Weekly, Tucson Weekly and idobi Radio, as well as here in Music Connection. He can be reached at brettcallwood@gmail.com

2KBABY STANDS FOR LOVE

Louisville artist 2KBABY is back with vulnerable new song “Stand Love,” which sees him take a deep dive into his emotions. “Why all you girls play these games,” he exclaims in the song. “I can’t stand love.” The artist said in a statement, “I don’t know what love is or if I’m doing it right. I’m tired of trying to figure it out.” Contact yashar. zadeh@warnerrecords.com for more info.

BY GLENN LITWAK

SONGWRITERS HAVE LONG been concerned about the amount of income they receive for songwriting. The music industry has evolved over the last 10 years or so as revenue streams have changed. Artists and music producers who are also songwriters don’t have to solely rely on songwriting for their income. But for those who are only songwriters the outlook is not as good.

Lauren Christy is a successful songwriter and music producer. She has co-written such hits as Avril Lavigne’s “Sk8er Boi” and “Complicated” and also has written for Britney Spears and Liz Phair. As

SONGWRITERS CONCERNED ABOUT THEIR INCOME

she told Rolling Stone Magazine, she’s worried about the future of songwriters. “On this current path, we are headings towards a national funeral for the songwriting profession.” She indicates that songwriters who are also recording artist and/or music producers can still make it, but those who rely only on songwriting are becoming rarer and could disappear unless the music industry does something about giving songwriters a bigger slice of the pie.

In August of 2022 there was an important decision when the major streaming services and music publishers entered into a new agreement through what is known as the Copyright Royalty Board (“CRB”), which is a three judge panel chosen by the Librarian of Congress to determine issues concerning music publishers and songwriters.

The Royalty Board determines the amount of songwriters and music publishers royalties for the next five year period. The CRB still has to approve the deal between streamers and publishers which is expected to be made in the near future. The decision will decide how much money publishers and

songwriters receive for their music from companies such as Spotify, Amazon Music, YouTube/Google and Pandora.

The streamers and publishers had a huge battle over the rate for the 2018-2022 time period. The CRB ultimately decided to raise the rate from 10.5 to 15.1 percent (the highest rate ever for songwriters) which was considered a big win for songwriters.

The CRB had recent hearings to determine the rates for the years 2023 to 2027 and the rates will increase by a much smaller amount: 15.1 to 15.35 over the next five years which is the highest rate ever for songwriters. As songwriter Michelle Lewis told Rolling Stone:

“For publishers or writers with multiple hits, anyone with market share at scale, they’re stoked because this is a format that rewards scale. But this doesn’t help anyone below the 1 percent [richest writers].”

Other issues songwriters are pursuing are “Day rates’ for songwriters to guarantee they get paid not just royalties but also for their time and work.

This article is a very brief overview of the subject matter and does not constitute legal advice.

And they would like better terms for publishing deals. Another source of revenue for songwriters could be giving songwriters a percentage from master recording royalties. Currently, songwriters only receive royalties on the composition, not the master recorded from the composition.

If songwriters are to be paid more it has to come from somewhere. Streamers and/or labels and/or artists would have to take less. I don’t predict that happening any time soon.

GLENN LITWAK is a veteran entertainment attorney based in Santa Monica, CA. He has represented platinum selling recording artists, Grammy winning music producers, hit songwriters, management and production companies, music publishers and independent record labels. Glenn is also a frequent speaker at music industry conferences around the country, such as South by Southwest and the Billboard Music in Film and TV Conference. Email Litwak at gtllaw59@gmail.com or visit glennlitwak.com.

ALLY SALORT AUTUMN MARINI

Date Signed: January 2022

Label: Geffen

Management: Rene

Legal: Debra White Loeb

Publicity: Christina Lo Duca - UMG/Geffen

Web: instagram.com/allysalort

A&R: Conor Ambrose

Ally Salort once roamed the hallways of the very same high school that SZA and Lauryn Hill attended, years after the Grammy winners were in their teens. Hence, the groundwork for a successful career in mainstream music was presented to her at a very young age. However, the latest music protégé out of Columbia High School in New Jersey forged her own blueprint upon being discovered by her music producer, Pop Wansel, and participating as a contender in a talent search for a roster spot with Atlantic Records back in 2018. Salort placed among the top contestants, and the knowledge she gained prompted her to upload videos by Top 40 artists such as Adele and Bruno Mars to her YouTube channel, once a week, in order to garner an organic fan following. She repeated the process for about two years until her rendition of “IDK you Yet” by Alexander 23 landed on the radar of Conor Ambrose. The musician-turned-A&R manager at Geffen Records reached out to Pop Wansel on Salort’s behalf about a couple of months later, and they negotiated a recording contract with the help of her manager.

Date Signed: May 2021

Label: Blackground

Type of Music: R&B

Management: Tchalla - 678-523-1529

Booking: N/A

Legal: Arrington and Phillips Publicity: Jeremy Johnson - The Live Vibe, info@thelivevibela.com, 805-889-4098

Web: instagram.com/autumn_marini A&R: Mike Jackson and Barry Hankerson

Approximately a year and a half ago, R&B singer Autumn Marini was busy writing and recording. She knew having a solid catalog of tunes was key to making it in the industry. Then she found a manager whose professional network included somebody personally familiar with Barry Hankerson, the legendary founder of Blackground Records who played a vital role in launching Aaliyah to superstardom. As fate would have it, Aaliyah is one of Marini’s idols.

“The chance to sign with someone like Barry Hankerson was amazing,” gushes the singer from Georgia. Marini views the chance to hear Hankerson recount stories and impart hard-earned wisdom as a valuable bonus. Listening to one of Marini’s demos secured the honcho’s interest.

A performance at Hankerson’s house was subsequently arranged. There, she was introduced to members from Empire, the resurrected label’s distributor. A deal was soon in the offing, and Marini is now the first artist on Blackground 2.0.

“We talked over Zoom once,” Salort recalled. “I just had a feeling about [Conor] and I just really like him. I also thought, ‘He’s young and he knows the music industry is ever-changing.’ I felt that he was really up-to-date with the way the industry works now. My manager was also saying that [Conor] could be a really good fit.”

Terms of the joint-deal stipulated that Ally Salort was not only signed to Geffen Records, but also Conor’s independent label, called Listen to the Kids, and a separate imprint belonging to Pop Wansel’s manager. The signing was made official in January of 2022. In the months that followed, the team commemorated the deal with a “signing dinner” before working on Salort’s transition from being a well-known “cover band musician” to a brand-new recording artist. The 19-year-old released a music video for her debut single, “Stranger Things” in May and another video for her follow-up single “You’ll Never Notice” in September. Collectively, the tracks are a blend of R&B and Pop that resonate similarly to the early work of Alessia Cara and Ariana Grande. Salort’s third single, “Nostalgic” was published in November and her debut EP should drop sometime during the first quarter of 2023. The music production will be handled by Salort’s Grammy-nominated producer, Pop Wansel. All of the content will be released under the umbrella of Epic Records. – Miguel Costa

Other labels had approached Marini, yet none made the grade. She’d take their proposed contracts to her attorney for review and always received the same advice not to sign. That wasn’t the case with Blackground. “My lawyer said it was a great contract for a first artist,” reports the diva.

One signing from her past proved troublesome. She inked a threeyear deal in 2016 that didn’t work out. Extracting herself from that entanglement required legal maneuvering. Despite the experience, she had zero hesitation about signing with Blackground. “They believed in me,” she affirms. “I was ready.”

Marini’s latest banger, “Don’t Stop,” featuring Kodak Black and produced by Jazze Pha, has been going gangbusters on Spotify, YouTube and radio. Last year, she released “Drive,” produced by Damon Thomas of The Underdogs. Additional material is in the works.

The vocalist stresses that she wouldn’t be where she is today without a strong team. Others looking for a label should have the same. Also, she warns hopefuls to proceed with caution. “Don’t ever rush into something, because you can get yourself in some mess if you do.” – Andy Kaufmann

Records/Listen To The Kids, Fish Grease

Symonds - Tap Management

“I thought, ‘He’s young and knows the music industry is ever-changing.’” “The chance to sign with someone like Barry Hankerson was amazing.”

CHASE MATTHEW

Date Signed: Sept. 22, 2022

Label: Warner Music Nashville

Band Members: Chase Matthew, vocals; Carsen Richards, bass; Ciaran Wilkie, lead guitar; Johnny Gentry, drums

Type of Music: Country Management: Ignition Management Booking: United Talent Agency

Legal: Eric Griffin - Music City Counsel

Publicity: Lexi Cothren, lcothran@shorefire.com Web: chasematthew.com

A&R:

When an artist calls their debut album Born for This, they’re asking for trouble. Hubris, they say, is usually reserved for those who have already achieved success. But Chase Matthew was only speaking the truth. The singer-songwriter isn’t a household name just yet, but he’s poised to become one.

“I’m what they call a ‘unicorn,’” he laughs, noting that his parents work in the music industry. “I’m born and raised in Nashville, and went to school here. I’ve walked these streets dreaming about this day.”

At the encouragement of friends and family, Matthew posted a clip of “County Line” last year. The song notched 700,000 views on TikTok on the night he put it up, eventually leading to RIAA gold certification.

SASH

Date Signed: July 2022

Label: Apex Sound

Type of Music: Hip-Hop/Pop

Management: N/A

Legal: Marisa Pizarro + David Fritz - Boyarski Fritz LLP

Publicity: bailey@bbgunpr.com

Native New Yorker Sash grew up surrounded by music. His dad was a massive hip-hop head, so the fledgling Sash’s artistic education began early.

“We’d listen to an old Kanye or a J Dilla-produced record, and that took you to different samples,” Sash told us by phone. “You got into investigating different genres and different sounds. Different kinds of music. I just grew up as a listener. I got into making music in high school, it was always for fun. I never really thought to put out anything until my friend suggested I throw this one song on Soundcloud. It’s all grown from there.”

He’s evolved organically over time into an artist with a sound very much his own. Sweet vocals and melodies over dark, brash music coming together to form something quite delicate. He’s also the very first artist signed to the newly formed Apex Sound—the brainchild of Mike Dean and Apex Martin.

“Apex reached out to me years ago, when he heard something on Soundcloud, and we started working on stuff ever since,” Sash says. “We had recorded a few things together, some beats. Then Mike heard some of the stuff that we had recorded recently and was like, ‘Let’s try to work on something together.’ We started working on music and it naturally progressed until like, ‘let’s put this stuff out, it’s sounding great.’”

Many people living here don’t realize what they have at their fingertips,” Matthew says. “You have the opportunity to be in the right room at the right time, playing the right kind of music. You can’t have a cynical mindset. I promised Ryan (Upchurch) I wouldn’t stop working hard. I’m tired of seeing my family struggle.”

Matthew increased his exposure by collaborating with managerrapper Big Snap (Ryan Upchurch) and his Holler Boy Records. Big Snap facilitated meetings with Warner Music Nashville, while Matthew drew in more than 1.5 million plays on Spotify.

Thanks to that work ethic, Matthew recently inked a deal with Warner Music Nashville. All the while, he sold out 1,500-capacity venues across the country with his captivating live shows.

Matthew put his nose to the grindstone after dropping out of high school and dealing with the aftermath of his best friend’s death in 2017. The two developed their music chops playing together in church. (Matthew asked that his friend’s name be kept confidential.) “I wanted to make sure that I lived his legacy for him,” Matthew says.

He confesses: “I’m a little rough around the edges. “I might kiss, drink, smoke … but I’ve never stopped believing in God’s plan. As my aunt told me, I’m not lucky—I’m blessed.” – Kurt Orzeck

The artist says that he didn’t need any more of a hook than the opportunity to work with Mike Dean. “I grew up as a Mike Dean fan,” Sash says. “I grew up listening to all the stuff that Mike was working on. So just the chance to work with him is the hook. Just being able to create music with people like Mike and Apex—there’s nothing past that. It’s essentially an independent label. So, it’s not like it’s a major label where you’re getting promises. Where I am right now, all I need is to be dealing with people creating stuff that I like consistently.”

Sash’s first release for the label is “Lemon Sorbet,” a moody, noir gem with some killer synth from Mike Dean and an epic, movie-esque video. “Then we’re doing an EP called Bittersweet—it’s a short project, so it’s technically an EP, but it’s like a batch of music,” Sash says. “We’re going to be releasing a lot over the next year.”

Bittersweet came out on Dec. 2. Much like the duality in his music, the EP’s theme is one of pleasure and pain, beauty and darkness. That’s kind of what makes him tick. “I want the music to feel like ‘50s and ‘60s jazz musicians,” Sash says in conclusion. “Performance-wise and characterwise, that’s what I want to make it feel like.” – Brett Callwood

“My friend suggested I throw this one song on Soundcloud. It’s all grown from there.”

Rohan Kohli

“I’m what they call a ‘unicorn.’”

KENNEDY CENTER HONORS LEÓN

Peermusic classical artist Tanya León has received a Kennedy Center honor for her extensive work in expanding the possibilities for the sound of classical music–including her recent Pulitzer Prize-winning piece, “Stride,” as part of “Project 19” (that marks 100 years of the woman’s vote).

FUTURE ICON APOLLO

Omar Apollo received Variety’s 2022 Future Icon Award at their annual Hitmakers event and is on the ballot for 2023 Grammy Best New Artist, following two Latin Grammy nominations in 2021, and a 2022 U.K. Music Video Awards win for “Invincible” as Best R&B/Soul Video–International.

KOBALT SIGNS VENBEE

Songwriter Venbee has signed a global pub deal with Kobalt Music for sync and creative services for catalog and future works. Debut “Low Down” succeeded on TikTok and radio, with “Messy In Heaven” at U.K. No. 5, Radio 1 A-List, 13 million Spotify streams, 24 million TikTok views and No. 1 on U.K. viral chart.

Tin Pan South Returns

The Tin Pan South Songwriters Festival returns March 28 – April 1, and this year marks the 30th anniversary of the Nashville event. The full schedule will be up on Feb. 28, with more details to follow soon.

This year’s program includes a new festival app for IOS and Android devices to help navigate all of the festival’s happenings, which was designed by the team at Aloompa Nashville.

For more information, tickets, and full registration, visit: tinpansouth.com

SESAC Support Groups

In partnership with MusiCares, SESAC is offering Cyber Emotional Support groups for artists needing help with anxiety and other mental health challenges. Confidential support and community is being offered weekly and is free of charge, with groups based in Los Angeles, Nashville, Atlanta, Fort Collins, New Orleans, and Austin (as well as virtually). Groups cover general mental health and anxiety struggles, as well as challenges specific to women, the black community, LGBTQ+, and addiction recovery.

To find out more, please visit: musicares.org/get-help/addictionrecovery

SongNet Sessions

The Songwriter’s Network (SongNet) hosts industry speaker sessions on the first Wednesday of each month and live performance showcases on the third Wednesday of each month.

As a network of career-minded songwriters, musicians, artists, and music industry professionals supporting each other in events, seminars, showcases, and collaborations, SongNet began as a way for songwriters at all levels to collaborate and network to help each other achieve their goals and feel less isolated.

Details and membership at: songnet.info

Listening Room Retreats

Brett Perkins’ Listening Room Retreats are back with opportunities for 2023 in Tuscany, Italy (April 3-8), Copenhagen, Denmark (Aug. 21-26), Inisheer, Ireland (Oct. 23-29), and Sisimiut, Greenland (dates still TBA).

The Retreats revolve around “The Listening Circle,” which is a platform of communication based on community-building principles that support the energy and participation of each member to give and receive focused attention. Daily facilitation is led by Brett Perkins, alongside partners, co-leaders, and invited songwriting professionals to add their experience and perspectives. Morning start by exploring various aspects of the creative process, followed by a fresh co-writer pairing each day.

Full details and registration at: listeningroomretreats.com

Secretly A&R Grows

Following Eddie Sikazwe’s appointment to Sr. Director of A&R last summer, Secretly Publishing’s A&R team has grown again with the addition of two new members. Trinity Hood has been hired as the A&R Associate, and Tony MessinaDoerning as A&R for the busy Los Angeles office in an effort to help with roster, catalog, and synch growth and administration. Both Hood and Messina-Doerning will report to Sikazwe.

Adding to Secretly’s team in Brooklyn, the Secretly Group label recently hired Laura “Lau” Frias as the A&R Director for Dead Oceans, Jagiaguwar, Saddest Factory Records, and Secretly Canadian.

BMI Honors Keith & Hardy

BIG DOG COULAHAN

Big Yellow Dog Music has added Kyle Coulahan to their artist-songwriter roster. Penning songs with Bobby Pinson (Jason Aldean, Randy Hauser), Clint Daniels (Eric Church, Jon Pardi), etc., his latest success stems from his collaboration with comedian Carlos Kane on “Country As Hell.”

BMI congratulates Toby Keith on being the recipient of 2022’s BMI Country Music Icon Award for his songwriting contribution to country music, as well as his humanitarianism. Having sold over 40 million albums, Keith has had 32 No. 1 singles and written a No. 1 song every year for 20 straight years. He has been inducted into the Songwriters Hall of Fame, the Nashville Songwriters Hall of Fame,

and has been named BMI’s Country Singer of the Year three times.

BMI also wishes to congratulate Michael Hardy on his BMI Country Music Awards Songwriter of the Year win, following his AIMP and ACM Songwriter of the Year award wins for 2022. Hardy’s sophomore album, The Mockingbird & The Crow, is set for release this month.

Full award listing at bmi.com/ award-shows/country-2022

Durango Songwriters

The next Durango Songwriters Conference is being held in Ventura, CA—Thursday, Feb. 23 through Saturday, Feb. 25—with listening sessions, open mic opportunities, panel discussions, and plenty of time and space to network with other songwriters and industry professionals.

The community is open to all levels of songwriting and is a very supportive place to move forward in your songwriting and development.

Full details at: durangosongwriters-expo.com/

HUME Amplifying Songwriters

Web3 record label, Hume, is using the metaverse to amplify the workings of real-life songwriters as part of a new songwriting camp. The team of founders includes producers and songwriters that have billions of streams for artists including Selena Gomez, Dua Lipa, and Demi Lovato. Inaugural artist, angelbaby already has numerous No. 1 songs on the Audius platform and two No. 1 NFTs on OpenSea, with the Hume community left to vote on which song angelbaby will produce next.

Partnering with the Blocktones immersive audio project and web3 R&B artist Reo Gragun,

Hume hopes to bring music to the metaverse in a weeklong writing camp, with the goal of finishing 2-3 new tracks written by a human artist and a virtual metastar artist (which has never happened before). More at: wearehume.com

WCM Gets Defiant

In a first-ever web3 entertainment deal, Warner Chappell Music (WCM) has partnered with Defiant to help incubate the next generation of creatives. In an initiative to create more opportunities for Warner’s songwriters and producers to engage and utilize the web3 platform and blockchain technology, the agreement represents the first step toward next-level creation and the integration of new income streams for WCM artists.

“Archives” is being launched as the first project, which consists of a digital museum backed by blockchain which focuses on the art and stories behind songs to create a more intimate experience for fans. The “exhibits” include digital collectibles, events, memorabilia, etc., and will show insights behind the creative process. The digital museum launches early this year with an “Archives Mint Pass”–a 2,000-piece NFT collection, with each piece granting the holder access to participate in drops, auctions, and virtual experiences.

ANDREA BEENHAM (aka Drea Jo) is a freelance writer and marketing consultant based in Southern California. The South-African born, Canadianraised California transplant has a passion for music, people and fun. She can be reached at drea@dreajo.com

SCISSORS FOR WCM

Scissor Sisters have signed their catalog over to WCM. Their first success was in the U.K. covering Pink Floyd’s “Comfortably Numb.” Their self-titled debut received Best International Album at 2005’s BRIT Awards. Ta-Dah (2006), Night Work (2010), Magic Hour (2012) also found success.

AJ GETS WISE

Wise Music Group has entered into an exclusive worldwide co-publishing agreement with pop phenom AJ Smith for his future workings. The deal will also cover his catalog of music to date, which includes hit songs, “We’re All Gonna Die,” “Confetti,” “Drama,” and “Lonely Year.”

HOPELESS AJJ

CELEBRATIONS FOR AIMP

AIMP

AJJ (formerly known as Andrew Jackson Jihad) have released their first single since signing to Hopeless Records. True to their trademark of addressing difficult themes and starting conversations, “The Baby Panda” is meant to highlight the dangers of global warming.

celebrated the holidays at their Nashville Chapter by electing a new Board of Directors, the New York office presented their Indie Spirit Award to Deborah Mannis-Gardner, and Los Angeles presented awards to publisher North Music Group and attorney Jay Cooper.

Scotty Hills Patient Unfolding B

orn and raised in the prairie town of Saskatoon, Saskatchewan, Scotty Hills’ unique country and blues-flavored sound lands with palpable deep soul, while his poignant and masterful storytelling leaves you breathless. For Hills, it all comes down to capturing a moment in time and holding that feeling. “What makes a good song, says Hills, “is the relentlessness to preserve the vibe that was originally started. If you got hit with some kind of heart dagger or something affected or inspired you to write, then you have a song. The best songs don't try too hard to be much more than that vibe—that thing that a small child that can barely speak should be able to explain—it's your melody.”

The initial musical education for the self-described “accidental musicologist” came with stark contrast: his paternal grandfather was a hard-working cowboy country singer, whistler, and competitive yodeler playing ‘cowboy chords’ on the guitar; his maternal grandfather was an educated multi-instrumentalist bandleader, writing for orchestras and bands. Home life juxtaposed Ricky Skaggs, Anita Baker, Ronnie Milsap and Johnny Cash, with Whitney Houston and Tony! Toni! Toné!. His sessionsinger mother took him along to weekly studio gigs, with Hills singing under union contract from age three, while his auctioneer-songwriter father set him up with a drum kit and guitar early, and helped him write his first two songs at seven. A “Nirvana kid” listening to grunge and punk through his teens, hearing Little Walter for the first time “just did something crazy to me,” reveals Hills. “Once that can was opened up, it was game over for me. I was nothing but a blues lover.”

Hills’ father released an album when Scotty was very young and it had a huge impact on him. “You're listening to this very mature sort of music that has to do with your mom,” confesses Hills. “I had to grow up really quickly. I was a songwriter long before I was a musician.”

Drumming and touring with multiple blues bands by 17 (with The Perpetrators for five years), he left to pursue his own sound, releasing Wonderland Urgency after winning a radio contest, with the soulful Year of Septembers reworking as a follow-up. Within six months, he signed a publishing deal and was sent to a writing camp to incubate songs for Rihanna. Says Hills, “Never let anybody tell you to hurry up, that you're this or that—just absolutely stick to your vision.”

Hills believes that telling good stories means you have experienced some, but that songwriting is not for everyone. “Anybody can learn how to write a song,” he admits. “I just don’t think anybody can necessarily learn to write a compelling song. Some people are chosen to be writers—[with] the spiritual or work ethic to be able to dig enough to get to those kinds of reflections.” He adds that, “A great song is full of drama: ups and downs, tensions and release. Melody is absolutely everything. When they're about to check out, you bring them back in.”

An album is a movie, Hills believes. “If you used your imagination— there was a story in it that you had to watch to the end to figure out. Kids don't necessarily know, care, or understand the album format,” explains Hills. “If you give the artist the choice—even today—to make a collection, a snapshot of how you're feeling, they will commit to create something greater, more profound. Technology is robbing listeners or artists from committing, seeing the art through, as opposed to looking for views.

Discussing his upcoming record, Hills says, “The idea of The Great Regression is like the revenge of an animal. Biology can't keep up with technology. At some point, we have to surrender and be in the moment.”

Scotty Hills is a Western Canadian Music Award-winner and holds a degree in jazz studies. He writes, records, and does collaborative work, while mentoring young artists from his home studio in Vancouver.

Contact scottyhillsmusic@gmail.com, scottyhills.com

DROPS

Following country music legend Wynonna Judd’s headlining and history-making live concert event The Judds: Love is Alive –The Final Concert in November at Middle Tennessee State University’s Murphy Center, the show will be televised in March 2023 on CMT. The November concert was a recreation of The Judds 1991 Farewell Tour, and marked the largest concert to take place at the Murphy Center since Judd and her mother, the late Naomi Judd, put on their final show together over three decades ago. Judd was joined by tour mates Ashley McBryde, Brandi Carlile, Kelsea Ballerini, Little Big Town and Martina McBride, all sharing the same bill for the first time ever. A portion of the proceeds benefited NAMI Tennessee, a nonprofit self-help organization made up of people with mental illness, their families and community members. For more information, contact ali.marszalkowski@paramount.com.

Punk Rock Vegan Movie, a new documentary written and directed by Moby, will have its world premiere and be the Opening Night film for the 2023 Slamdance Film Festival on Jan. 20. The film, which is Moby’s directorial debut, examines the unlikely relationship between punk rock and vegan activism, featuring interviews with Mackaye, HR, Dave Navarro, Ray Cappo, Andrew Hurley, Tony Kanal, Tim McIlrath, Water Schreifels, Dave Dictor, Derrick Green, Steve Ignorant, Theo Kogan, Doyle Wolfgang von Frankenstein, Amy Lee and Captain Sensible. The film will be given away for free to download and stream following its premiere. Learn more at slamdance.com or by contacting Natalie Schaffer at natalie@bigpicturemediaonline.com.

Milan Records has released Bardo (Soundtrack from the Netflix Film), an album of music from five-time Academy Award-winner Alejandro G. Iñárritu’s latest film, composed by Bryce Dessner and Alejandro G. Iñárritu. The soundtrack features an original score cocreated by the two composers to accompany the film that chronicles the journey of a Mexican journalist and filmmaker returning to his native country. The composing duo previously collaborated on the soundtrack for 2015’s The Revenant, starring Leonardo DiCaprio. Contact sarah.avrin@charmschoolmedia.com.

A vinyl edition of Deutsche Grammophon’s groundbreaking concept album that captures the music-making process within Todd Field’s film TÁR was released Jan. 20. The film stars Cate Blanchett  as composer and conductor Lydia Tár and will see international release dates in early 2023. Grammophon’s accompanying album offers an aural experience of the work involved in preparing classical music for performance with clips of recording sessions, rehearsals, music listened to by the film’s characters, and completed versions of music on which Tár worked. The track list includes extracts from the Elgar’s Cello Concerto, Mahler’s Fifth Symphony, and new works by Hildur Guðnadóttir.

Contact Thomas Mikusz at thomas@ whitebearpr.com.

The new documentary film 18th & Grand: The Olympic Auditorium Story had its regional broadcast premiere on Dec. 8 on Spectrum SportsNet. The Downtown Los Angeles venue’s reputation as a 20th Century fight palace was built upon years of presenting pugnacious events such as boxing, wrestling, and roller derby—which later made it the perfect venue for insane punk rock shows that

fans will never forget, legendary shows by the likes of the Dickies, Suicidal Tendencies, SSD, Circle Jerks, Black Flag and others. See spectrumsportsnet.com/faq). Check local listings.

A Blu-Ray of the film is available and includes the 5.1 surround mix and extended interviews with Gene LeBell, Jimmy Lennon Jr. (and family), Honey Sanchez and Gary Tovar of promoter Goldenvoice. Go to 18thandgrand.com.

A CD and vinyl release of the original motion picture soundtrack for Till is due out in 2023, following its digital release last fall. The orchestral score was composed, orchestrated and conducted by Abel Korzeniowski in accompaniment to director Chinonye Chukwu’s film depicting the emotional true story of American educator and activist Mamie Till-Mobley’s pursuit of justice for her 14-year-old son, Emmett Till, who was lynched in 1955 after visiting his cousins in Mississippi. Korzeniowski’s scores have received two Golden Globe nominations and three World Soundtrack Awards. His credits include Tom Ford’s A Single Man, Madonna’s feature film W.E. and John Logan’s  TV series Penny Dreadful. Contact Ray Costa at rcosta@costacomm.com.

DANNY ELFMAN

OPPS

The Emerging Black Composers Project is now accepting applications for the third year of the program, which aims to spotlight talented Black musicians. The San Francisco Symphony, led by Music Director Esa-Pekka Salonen, will give the world premiere of a new work commissioned from the winning applicant. Feb. 1 is the deadline to apply. Visit sfcm.edu/emergingblack-composersproject for more information.

Want to learn more about Women in Film’s Emerging Producers Program? This program is for producers who have completed a short film, produced music videos that have been widely viewed or for a prominent artist, or have produced in the advertising or marketing space. See womeninfilm.org/updates/emergingproducers-program-details.

Portland Dance Film Fest opens submissions on Jan. 8 for dance filmmakers to submit their minis, shorts, long and mini-documentary dance films for the seventh annual dance film festival, which features dance films from around the world. April 30 is the deadline. Visit filmfreeway.com/ PortlandDanceFilmFest to apply.

PROPS

The Society of Composers & Lyricists have honored awardwinning composers Nicholas Britell and Danny Elfman with the Ambassador Award in New York and Lifetime Achievement Award in Los Angeles, respectively, at the SCL Holiday Celebrations in December for their musical contributions over the years to film and television. Both events included live performances, and are held annually to celebrate SCL members’ achievements and honor exemplary composers and songwriters in advance of the SCL Awards show in February. Britell’s critically acclaimed scores include those for Don’t Look Up, If Beale Street Could Talk and Oscar Best Picture winner Moonlight. Four-time Oscar nominee Elfman’s musical scores include those for Milk, Good Will Hunting, Edward Scissorhands, Batman,

To Die For, The Nightmare Before Christmas, Alice in Wonderland and more. Contact Ray Costa at rcosta@costacomm.com.

The 13th annual Hollywood Music in Media Awards in November featured performances from Rita Wilson, Diane Warren and Charles Fox This year’s winning composers, songwriters and films included Danny Elfman (Doctor Strange in the Multiverse of Madness), Alexandre Desplate (Guillermo del Toro’s Pinocchio), Michael Abels (Nope), Terence Blanchard (Woman King), Diane Warren (Tell It Like a Woman), Simon Franglen (Avatar: The Way of Water), Rihanna & Ludwig Goransson (Black Panther: Wakanda Forever), Tanya Tucker and Brandi Carlile (The Return of Tanya Tucker – Featuring Brandi Carlile), Billy Eichner (Bros), Tár and Killing Me Softly with His Songs. For more information about the event, contact Ray Costa at rcosta@ costacomm.com.

The Society for the Preservation of Texas Music, a nonprofit dedicated to cultivating media projects and live events that spotlight Texas’s influential music history and rising talent, has rereleased a landmark 2015 documentary that has been out of circulation since 2020 when the initial music licenses expired. Titled Sir Doug and the Genuine Texas Cosmic Groove and directed by historian and author Joe Nick Patoski, the film tells the story of Texas singer-songwriter and multi-instrumentalist Doug Sahm and was released in partnership with Austin-based production company Arts+Labor. Learn more about the documentary and how to stream at sirdougfilm.com or by contacting Tamara Saviano at tsaviano61@icloud.

Mi chael Lo ckwood

Composer,

Producer

Web: michaellockwood.com

Contact: Wendy Brynford-Jones, wendy@ hellowendy.com

Most Recent: As the Village Sleeps Michael Lockwood launched his career in the 1980s as a member of the band Lions & Ghosts. Since then, he’s recorded, produced and played professionally with artists including Aimee Mann, with whom Lockwood worked extensively on music for films like Paul Thomas Anderson’s Magnolia and Jessie Nelson’s I Am Sam, as well as television shows Buffy the Vampire Slayer and The West Wing.

“I’m always thinking about music, breaking it down, dissecting it, trying to figure out what I can learn from it. Working with Aimee Mann in movies and TV, I started seeing how valuable music was in a movie setting and becoming more and more fascinated by it, including the work of composer Bernard Herrmann, who did the music for [Alfred] Hitchcock’s films,” Lockwood says.

“In Magnolia, the movie is really codependent on the music. That [film] became, for me, The Graduate of the ‘90s. The storytelling was done not only through a great script, but the music. I was blown away by that marriage of art.”

During the pandemic, Lockwood was invited to compose a score for the indie horror film As the Village Sleeps, the soundtrack for which was released on Lockwood’s newly launched label, Sparkle Plenty, co-created with manager Jeff Keller. “I was able to do anything I wanted with this score. I’ve worked around film composers, but have no schooling in that; I’m just a lover of that medium. I went for it, as it were, created themes for the characters, spent hours in my home studio, and learned as I went,” Lockwood says. “When you approach a project where you don’t know how, technically, to do it—you come into some confidence from that.”

Through the challenge of composing his first score, Lockwood says he gained a new perspective on music—he sees all songs as mini-soundtrack with moods and themes. For aspiring film composers, he advises them to look outside the box. “I know from experience that when you’re trying to create something, if you go down a path that’s already been gone down, that path gets narrower. You have to get outside it, look for a back door to it, and dream up different ways to do the thing you want to get done.” •

JESSICA PACE is a music journalist-turnednews-reporter based in Durango, CO. She is from Nashville, where she started a writing career by freelancing for publications including American Songwriter and Music Connection. Contact her at j.marie.pace@gmail.com.

SIR DOUG

AIRLINE PARTNERS WITH CHANCE THE RAPPER FESTIVAL

United Airlines made travel to Ghana more accessible this holiday season, aligning with Chance the Rapper’s Black Star Line Festival. The music & arts festival was set in Accra’s historic Black Star Square, as a bridge between Black people and artists of the Diaspora and the globe with the continent. United offered up to a 10% discount off airfares to and from Accra, Ghana from North America, Europe, India, Middle East, Central America, South America, Asia and the South Pacific.

ROCKIN AUDIENCE AT 'INVINCIBLE' PREMIERE

Pictured (l-r): REO Speedwagon’s Kevin Cronin & wife Lisa Cronin, Pat Benatar & Neil Giraldo, songwriter Shelly Gorgoni (aka Shelly Peiken) & composer husband Adam Gorgoni at opening night of the world premiere production of INVINCIBLE - THE MUSICAL at The Wallis Annenberg Center for the Performing Arts in Beverly Hills. INVINCIBLE - THE MUSICAL features the songs of Pat Benatar & Neil Giraldo throughout a reimagining of Shakespeare's Romeo and Juliet for the 21st century.

GIBSON ACOUSTIC CUSTOM SHOP

In Bozeman, MT, Gibson carries on a tradition of acoustic instruments that dates back to the 1890’s. To meet demand for guitars, Gibson doubled the size of its acoustic craftory. With more machine shop and manufacturing space, expanded Gibson Acoustic Custom Shop capabilities, and a new artist showroom, the modernized facility enables Gibson to increase production of its acoustic guitar models: J-45, Hummingbird, Dove, SJ-200, and more.

BURESS AT BLUE NOTE

Comedian Hannibal Buress surprised Blue Note New York's audience when he jumped on stage and rapped during Robert Glasper's performance. Robert Glasper is wrapping up his residency at Blue Note, performing a total of 52 shows across 26 nights, with guests: Miguel, Chris Rock, Lena Waithe, Gary Dourdan, Lalah Hathway, Thundercat, Terrace Martin, Isaiah Sharkey, Alex Isley and Pino Palladino.

AEROSMITH IS UNIVERSAL

Pictured (l-r): Larry Rudolph, Tom Hamilton, Steven Tyler, Joe Perry, and Brad Whitford. Aerosmith, the best-selling American rock band of all time, celebrated the first time in their history that their iconic recordings are unified in one place with Universal Music Group. UMG is now the official worldwide home to Aerosmith’s entire recorded music catalog, future new music releases, merchandise and audio-visual content.

PEERMUSIC VISITS THE FUND

Representatives from peermusic, one of the world's oldest and most respected music publishers, stopped by the AFM SAG-AFTRA Fund while making the rounds in L.A. recently. Managing Directors, Neville Quinlan and Christophe Piot, from their recently created peermusic Neighboring Rights branch, caught up with Fund Associate Director of Artist Relations, Colin Gilbert, and Artist Relations Supervisor Lynn Norton at The Fund's Valley Village offices. (l-r): Quinlan, Gilbert, Norton and Piot.

MICHAEL PAULO, SESSION STARS

LIGHT UP KAUAI

Renowned session saxophonist and acclaimed recording artist Michael Paulo assembled a group of world class first-call session musicians for an incredible evening of cosmopolitan jazz for one of the "Grooves" series of concerts at The Royal Sonesta Resort in Kauai. This sold-out show featured (l-r): legendary drummer Michael White, Grammy winning guitarist Paul Brown, Hawaii's own Michael Paulo, bassist/ composer Andrew Ford and keyboardist/producer Greg Manning. More info at michaelpaulo.com

Tidbits From Our Tattered Past

1991–Smokey Robinson–#25

SBK

we spoke with him. Asked how he viewed his long-term success as a singer and songwriter, he said, ”I never let my ego tell me it was all because of me.” The issue also has profiles of R&B singer Peabo Bryson and Sire Records A&R man Howie Klein.

2002–Filter–#18

Filter frontman Richard Patrick had plenty of hardwon advice to offer in our interview for this cover story.

“No one, under any circumstances, should ever sign his publishing rights away. The publishing rights are the fucking granddaddy nest egg of everything.” Elsewhere in the issue, we speak with songwriting trio The Matrix and there’s a Live Review of The TransSexPistols.

Living legend Smokey Robinson was celebrating the release of his first album on

Records when

If you play it, they will come. That seems to be the battle cry for the breakout Los Angeles-based modern rock quintet Classless Act —Derek Day (lead vocals); Dane Pieper (guitar); Griffin Tucker (guitar); Franco Gravante (bass) and Chuck McKissock (drums)—who hail from Poland, Hawaii, L.A., Argentina and Dallas and met through social media. Supposedly, you might expect this as a fairly common means of connection and bonding in today’s circles. But there is nothing “common” about Classless Act. Albeit young, these lads are all accomplished multi-instrumentalists and veterans of countless bands. Their debut album Welcome to the Show (Better Noise Music) was released in June 2022 and has received rave reviews. They have steadily been gaining attention from fellow artists and fans alike, coming off of this past summer’s 39-date trek with Def Leppard, Mötley Crüe, Poison and Joan Jett, called “The Stadium Tour.” The tireless and industrious rockers recently completed their very first national headline tour and released a five-song EP, Welcome to the Acoustic Show, just this past December, featuring stripped-down versions of their select electric hits.

SHINN

PHOTO BY TRAVIS

“Playing music is one of the hardest jobs in the world to stay alive in. It’s also one of the most invigorating!”

– Derek Day

Music Connection: You all come from such varied backgrounds, both musically and geographically. Once you all sort of found each other, what are the tips you’ve discovered to making this alliance work?

Franco Gravante: There was a lot of work involved. It took years to find the right people. We went through a lot of members, as well. But this time it felt right. We’re like five brothers in a way. But it’s mostly about working, writing and to never stop having a good time. I think that’s really important.

Derek Day: We’ve all been in multiple bands. We all check in with each other here about what we all want out of the band. It always helps to share the same, or near similar, vision.

Gravante: We all come from different backgrounds and see life in a different way. So, it probably shouldn’t work, honestly, but it does.

MC: It sounds like you have a lot of respect for each other?

Day: Oh yeah. Everyone plays a lot of different instruments. Everyone sings and writes really well, too. I could never say I’m better than anyone else, because I’m not. We all keep each other in check. It’s very inspiring.

MC: What was the path to getting your deal with Better Noise Music?

Day: We showcased for multiple labels. A lot of people liked us. But it’s all about finding the right fit. It’s like a family thing. Right off the bat, when we met Better Noise they just liked our vibe. At the time, they had a lot of active rock bands, but were maybe looking for something a little raw or throwback. It was just preparation and opportunity at the same time. We had been making demos and it sort of popped up one day. We got a manager and that manager mentioned Better Noise. But it’s like family. They trust us so much.

MC: So, that “family aspect” was very important to your decision to sign with them?

Day: Yes. People think you want the best label with the most well-known artists. But that’s not true. You’ll get shelved and that doesn’t, necessarily, mean you’re gonna win. You need somebody to work for you and with you. And that makes you wanna work harder for them.

MC: What was it like working with veteran producers like Bob Rock and Joe Chicarelli?

Gravante: It was awesome and we learned a million things. Of course we heard a lot of stories about work with other bands, but when it came to our music, Bob did things we just never thought about or thought were possible. It was incredible. It was the same with Joe. He’s a genius. He’d be recording stuff, but do it in such a way that it sounded like a final mix.

MC: Talk about working with Vince Neil and Justin Hawkins on your debut album Welcome to the Show.

Day: It was almost on a whim. We got on the

Stadium Tour and felt a little more relaxed around these legends. We just threw the question out to Vince via email. We were opening up for Mötley Crüe in the summer and we asked if he wanted to sing on our namesake song “Classless Act.” It just felt like a Mötley song. And he said, “Sure, why not!” And it was the same thing with Justin. He played a guitar solo on “This Is For You.” And we had been writing with him, too, so we had a bit of a relationship. But they’re both so busy, with Vince in Nashville and Justin was in Switzerland at the time. We wouldn’t be in the same room with them, but through multiple Zooms and stuff it turned out great. It was all cool homey shit, as they say.

MC: What were some of the takeaways from your experiences opening for Mötley Crüe, Def Leppard, Poison and Joan Jett on that megastadium tour this past year?

Gravante: We would watch Joan Jett do

to ask directors to write us a treatment and then we’ll, maybe, tweak it.

Gravante: Last year we did four in one day, because we were getting ready to go on tour. So, we were writing everywhere, just trying to make it happen.

MC: It seems you have a bit of a repertory company of the same actors in a number of your videos. There’s also a humorous vibe that seems to flow throughout your videos, as well. Gravante: Yeah, they’re mostly friends and family.

Day: My brother has been in some and just a bunch of homies that are close to us.

MC: How does your songwriting process work on an individual and collective basis?

her sound check all the time, and that’s rock royalty right there. And everybody was kind and just happy to be there. It was an amazing experience. The bands gave us a lot of encouragement to keep working hard and that they enjoyed our set.

MC: Welcome to the Acoustic Show has you guys, of course, taking your songs in a slightly different direction. Who chose this concept and how did you make decisions on what songs to include for this EP?

Gravante: We just wanted to show a different side of the band. We didn’t know what to expect. But it came out great! It’s a different version of the same song. We just went into the studio in one day/one take. It’s very raw and fresh, with no overdubs. We were happy with the result.

MC: Do you normally write a lot of your songs acoustically and then flesh them out from there?

Gravante: No. We write a lot on electric guitar and piano. Or we do a full band demo on computers. Sometimes we write on acoustics, but a lot of songs on this album originally had distortion.

MC: What’s it like to embark on your first headline tour?

Gravante: We’re playing our whole album on this tour, which we never did before. We’ll do instrument swapping between all of us. There will be some new songs, as well.

MC: How much input does the band have on producing and conceiving your music videos? Day: I would say it’s quite collaborative. We are fans of storylines. We also like simplicity. Because everyone is from everywhere, ideas spark from a little flame and no one really knows where they come from. So, it depends on which video we’re talking about. We tend

Gravante: Well, there’s not one way that we do it. Sometimes we get together and write something. Sometimes Derek will come with a song already written and sometimes we work with people outside the band on a song. There are a lot of different ways that we write. Sometimes we might make changes to a song the day of the recording.

Day: Any way we can get something good, we will do it. If we have to squeeze a tree for juice we will do it. If you want a specific example, Franco wrote all of “Haunting Love” and “Thoughts From a Dying Man.” That just comes from his heart. No one else could’ve done that. And I’ll write something like “Made in Hell” or “Circles.” But then our rhythm guitarist Dane will bring in this beautiful chorus on the song “Walking Contradiction.” Chuck writes the riff to it and we mush it all together. The song that I like is “All That We Are” because it’s mostly Franco’s riff, which is the heart of it. But then everyone else brings their flavor, and I’ll bring in lyrics to give it some quirkiness. Everybody in Classless seems to meet in the middle and shake hands on “All That We Are.”

MC: How do you know when a song is finished and ready for the public?

Day: I don’t think, necessarily, you do know. You just throw it out there and see if it works. And then the next month you can say you knew a song was done all along, but you never really know. It was just in rehearsal the other day I said I wished I made these changes in a song. But, at a certain point, you’ve got to let a song go and be what it will be. It’s destiny and it’s out of your hands.

MC: You’ve collaborated with other writers, like Keith Nelson from Buckcherry. How did that partnership come about and what does he, and others, bring to the table?

Day: I played a gig with Skid Row’s Scotti Hill. He’s one of my favorite guitar players. Scotti recommended I hang out and write with Keith. So, I had a writing session with him, but then had to go on tour. But, lo and behold, the universe brought us back together. When we got a manager, he knew Keith and knew he was an amazing songwriter. He urged us to

“It’s mostly about working, writing and to never stop having a good time. I think that’s really important.”

– Franco Gravante

write with him. We were writing, like, punk songs and we needed to write more “song” songs. So, Keith sort of whipped us into shape.

Gravante: “This Is For You” was the first song we wrote with Keith. It happened pretty quickly. It was crazy.

Day: And in the process of writing, we sent back 7 to 14 demos. Sometimes that process goes on forever—”fix this, change that and try this!” It’s just a lot of work and being ready to re-record.

MC: Do you design a lot of your music with a stage show in mind, or do you write the material and fit it in wherever?

Day: Both. Like on “This is For You” there was more than one writer. Franco was focusing on the material to be really good. But, in my head, I was thinking about how good this song would sound on a stadium stage.

Gravante: When I’m writing I don’t really think about any of that. Once a song’s recorded, then you can think about all that other stuff.

Day: If it’s a really personal song, I don’t even think about what the label will think or anything. We write to have an outlet so we don’t friggin’ kill ourselves. It’s like therapy for us.

MC: What’s a typical day on tour for you guys?

Gravante: A lot of driving, dude (laughs)! We wake up in a hotel, try to get some breakfast. And then we get on the road to make it to the next venue, and do it all over again.

Day: It takes a lot of mind power not to make it so monotonous, because it does become a lot of 10 hour drives in the van. And everyone has different dietary needs. Dane needs to eat plates of food because he’s super buff. Griffin doesn’t eat, but two things. I have to eat a very specific way. So we’re figuring each other out a little bit. But it’s fun too. We bust each other’s balls all day long (laughs).

MC: And what do you like to do on tour when you have days off?

Gravante: I like to get as much rest as I can.

Day: Franco likes to chill as much as he can.

But, see, he’s our equipment loader so he does a lot of physical groundwork for the band. We all help, but he needs to be in there. I always look for a good Polish restaurant or what kind of movie theaters are there in Kansas?

MC: What is your take on the current state of rock music? And what are you currently listening to?

Gravante: I think rock has been coming back for a while now. A lot of people say rock is dead, but I think that’s just a slogan. I think it’s in a good place. I love bands like Queens of the Stone Age. The music is hanging in and not going anywhere.

Day: I think Gene Simmons said rock is dead. Well, if it is dead it’s like a zombie. It’s still got some character to it. Franco and I were just talking about this band from L.A. called Funkasaraus. They are a funk band but have a lot of rock elements in what they do. And I hear a lot of pop mixing more rock into what they’re doing too. Post Malone is playing more guitar. I feel like these guys are trying to bring back real instruments. Rock & roll is really not, necessarily, a genre or sound. It’s really more of a mentality or lifestyle. I think rock is cool again. It kinda wasn’t cool for a minute and that’s why grunge happened. But I think a lot more young people are seeking it out. That’s why they’re coming to the Stadium Tour and the shows. It’s kinda rebellious, too. But now that we’ve been on the road and done the work, I respect the effort to keep these fires burning.

MC: What are the challenges—pro and con— of being in a band?

Gravante: The challenges are always about trying to reach the fans and also keep your team behind you together. The pros are just getting to play music and make a living out of it.

Day: It’s kind of dehumanizing to constantly find new ways to make fans. You should just be able to sell records. But now I’ve gotta do an ice bucket challenge doing a handstand.

This is not music and what I signed up for (laughs)! It’s stuff like that, which I don’t mind, but it doesn’t seem real to the art and what I’m writing about. But it’s awesome to be making a living like this, although we’re still struggling to pay rent out here. The money’s not amazing, but it’s getting there. Another pro I would say is I don’t need a therapist. I put it all into the music and put it all out there. Playing music is one of the hardest jobs in the world to stay alive in. It’s also one of the most invigorating!

MC: What kind of effect does your music have on your fan base?

Day: People send us letters, photos and drawings. I don’t know how they get our address, but they do. And they tell us how a specific song got them through high school. It’s actually pretty touching. When we headline, we go out to the merch area just to talk to people and sign anything they want, for free. I remember bringing this one kid on stage at the Horseshoe Tavern in Toronto. He was really rocking out and was really into it. He was just beside himself. But our music seems to be having a positive impact on people. And we’re writing about stuff we’re just ripped to shreds about. We have nothing to say other than pure, honest realness, with plenty of hopes and dreams. I think people are starting to hear that.

MC: What is the best career advice you’ve ever received?

Day: My buddy, bassist Tony Franklin, told me this industry is like a really fast-moving car. So, if you’re holding onto that bumper, when everyone else lets go, you’ll make it to your destination. And you really don’t have to be that talented. I think that’s a metaphor to work hard, hang on and don’t quit. It sounds simple, but every other day you’ve got to remind yourself to hold on.

Contact heidirobinsonfitz@icloud.com HERFITZ PR

• Bassist Franco Gravante was born in Argentina. A red 1996 Fender bass his father bought him is still a go-to instrument in his arsenal to this day. He takes it everywhere.

•

• All the members of Classless Act are multi-instrumentalists. One of the plans they have as headliners is to switch, at various points in their show, from their primary instruments to ones they double and triple on as well.

• From 13 to 23 years old, lead vocalist Derek Day learned his craft as a guitarist and live performer by busking at Santa Monica’s Third Street Promenade.

• Classless Act has been around since 2016 and was initially formed by Niko Tsangaris on guitar and Slash’s son London Hudson on drums.

• In addition to playing rhythm guitar, Dane Pieper is a certified personal trainer and an A-rated volleyball player.

Guitarist Griffin Tucker was a contestant on the television shows American Idol and The Voice

4 A&R REPS How to Grab Their Attention

By Andy Kaufmann

Attracting the attention of a record label talent scout could mean the difference between a thriving career and endless obscurity. That said, A&R remains one of the industry’s least understood positions. As we do every year at this time, Music Connection converses with a handful of players inhabiting this space to give our readers insight into how they operate—and how best to catch their eyes and ears.

Moby

Founder always centered at night instagram.com/alwayscenteredatnight

Of the artists you’ve signed, which are you most proud? And what made you sure you had a star in the rough?

We don’t actually sign anyone. The idea is to work with a singer on a one-off track, as opposed to signing artists. The artists I work with are already signed. It would be frustrating if the condition for working with artists would be they have to exclusively sign to my label. It’s much nicer to simply do deals with their labels.

Growing up, I desperately wanted to be a great singer. Over time, I made peace with the fact that I am an average, idiosyncratic singer. But in the early ‘90s when I started making records under my own name, I wanted to have great voices on my records. That led to sampling vocals, but also working with singers. The best-case scenario is when you find someone who has a distinctive, beautiful voice and also writes remarkable lyrics. That’s my quest—finding people who have interesting, beautiful voices who can also write interesting, poetic, nontraditional lyrics.

What qualities make you an effective A&R person?

[Because I do everything for the label], I’m technically the A&R person. I’m finding artists and working with them on repertoire. In this case, it’s one song. It’s almost the way A&R existed a long time ago. This is largely what A&R did, as opposed to signing an artist to a five-album deal. In 1952, that didn’t exist.

What makes me good at this is I’ve been obsessed with music since three years old. Obsessed with voices. Obsessed with lyrics. Obsessed with the emotional impact music can have. And the other part is it’s almost like some of these earlier labels, where they were producing music in-house. Every song released on the label, I’ve co-written, produced and played all the instruments on.

want to respect people’s talent and ambition. But when someone is doing something far afield from what I’m working on, there’s no way to involve myself, even if it’s really well done. There are a lot of voices out there I can’t work with.

What should artists do to tailor themselves to be more attractive to A&R people? What should they avoid doing?

The first thing is a degree of self-awareness. The people who succeed in a major label system are one in a million. If you are that one in a million, if you’re Harry Styles, you’re going to do great. If you’re attractive, have a good voice, can dance and love pop music, you’re going to thrive. But if you’re not Harry Styles, don’t try to be. A lot of people are willing to compromise their integrity and what makes them unique to compete for that one-ina-million spot.

The goal is not to conform the artist’s voice or production to any pop standard. The goal is to create something interesting, idiosyncratic and emotional that fits the voice of the singer.

There are many ways artists can get the attention of an A&R rep. Which are the most effective?

Basically, I approach them. If someone approaches me, it rarely works out because I’m usually looking for something specific. You

Think of Billie Eilish. Her success came from being herself. She and Finneas [O’Connell] didn’t compromise to reach the market. They did something great and the market found them. If she had tried to be some sort of teen pop sensation, it wouldn’t have worked. If you’re not Ariana Grande or Harry Styles, don’t try to be. Be weird. Be interesting.

Where is A&R heading? Do you anticipate it changing in particular ways?

The label only exists for me to make music that I love with singers I love. The

criteria are not streaming numbers or revenue or Grammy nominations. The only criterion is to make wonderful music. That might sound disingenuous, but it’s actually not. My friends in the world of commercial music production make compromises that are so distasteful to me that it’s easy to just not get involved in that world. I don’t want to write songs about bottle service.

Sometimes, I’ll find a singer I love and try to get them to do something unique, something idiosyncratic. There are a lot of people, especially in L.A, who have been chasing the pop dream for so long that they’ve almost forgotten how to not be pop. It’s hard for people who grew up listening to NSYNC and moved to L.A. to become pop stars to remove themselves from that. It’s heartbreaking, because there are some talented people out there who could be fascinating and unique, but instead they’re compromised in the interest of pop success.

What do you want people to understand about A&R?

One of the greatest luxuries is not having to compromise. And luckily, I don’t ever have to. I’m unwilling to compromise to accommodate a platform and a system that I have no respect for. There have been times when I did compromise and regretted it. Creating something beautiful should be the focus.

Hunt seemed different than anything else. And different is always good.

What qualities make you an effective talent scout person?

You have to be a good listener. Being in tune with your artist, knowing about their lives, what they sing about, what they like, having a pulse of the town, knowing what’s working, who the new writers are and what works best for your artist… It’s keeping everybody’s spirits up and positively moving forward.

There are many ways artists can get the attention of an label rep. Which are the most effective?

When [A&R] started, you had artists coming in via managers and attorneys or artists would just show up. Now with social media, we’re all paying attention to something that spikes. You still get artists coming in from publishing companies. Sometimes it comes in from a booking agent. It’s a little bit the old way of doing things, but a lot of it comes in based off numbers.

What should artists do to tailor themselves to be more attractive to label people? What should they avoid doing?

It’s about being an original artist and not duplicating what somebody else has done. Figure out whom you’re talking to and what it is you’re trying to communicate. Develop your chops, from writing to being out on the road. Originality is still key and having great songs or, if you’re not a great writer, being able to look at outside songs.

I’m attracted to vocals and a specific way of hearing something that hasn’t been done before. That part hasn’t changed. The pace is different, for sure. You have to make decisions a little quicker, because typically, when an artist ventures on the scene and numbers start ticking up, you have everyone looking.

Stephanie Wright

Senior VP, A&R Universal Nashville universalmusic.com

Of the artists you’ve signed, which are you most proud? And what made you sure you had a star in the rough?

My roster includes Sam Hunt, Kacey Musgraves and Jordan Davis. Those three I’m pretty proud of. We’ve had Sam on this roster for almost 10 years. I went to a writer’s round 10 years ago, talked to him that night and heard a couple songs. I was not in a position where I could sign artists at that point, so I had to fight for it. Previous to that, I brought in Kacey Musgraves and worked on that for a couple years. Sam

Where is A&R heading? Do you anticipate it changing in particular ways?

The pace affects how we do things. But the core of working on an artist’s repertoire or developing their chops as a writer, enhancing their career as a performer, we’re going to continue to help guide those things. When I started, it was just about songs and releasing music. Now, it’s all types of content. You have to look at all those pieces and what works best for them. Are they staying on brand with the artist? We’re involved in stuff that we weren’t involved in before.

What do you want people to understand about scouting new artists?

It’s not one size fits all. What we do for one artist we don’t necessarily do for another. You have to cater to the artist and their needs.

Sameer Sadhu

VP

of A&R Nettwerk Music Group nettwerk.com

Of the artists you’ve signed, which are you most proud? And what made you sure you had a star in the rough?

There isn’t quite a favorite. This sounds like a politically correct answer, but each deal is different. I have 35 acts on my roster. They span a wide range of genres and personalities. Nettwerk’s a great home for career artists, especially for those who have been through other systems and are looking for help with their vision. There are different facets of A&R, and I’m proud that we do all of them really well.

A lot comes down to personality and gut. Obviously, the music is at a high quality and the vision is there. Also, understanding what makes [artists] tick and where they see themselves. Those get us excited. The metrics is one thing, but having something unique to say, that’s really exciting. And the work ethic and how much they want it.

What qualities make you an effective A&R person?

I view artist development as human development. Sometimes, it’s about the rat race and taking things quickly. Those moments are great, when you’re going from zero to 100. But the hardest part is consistency and remaining at the top. It’s allowing the artist both the physical and mental headspace to do that. My goal is to allow the artist to be comfortable and fulfill their creative demands. That’s the most important principle. That’s something I do well and is in the DNA of [Nettwerk].

There are many ways artists can get the attention of an A&R rep. Which are the most effective?

It comes down to spending time with the A&R. Metrics are a great way of getting people’s attention. But sometimes you meet artists who have nothing to say and don’t know where they want to take stuff. That’s hard for everyone.

It’s as important to know what you want as much as it is to know what you don’t want. When you meet an artist who has a clear vision and knows where they want to go, that gets an A&R’s attention. Being able to communicate that vision, having incredible songs and being able to develop them is key. Of course, having an incredible live show and being an incredible person are just as important. To have longevity, you have to be a great person. And that’s something that will inspire the teams around you.

What should artists do to tailor themselves to be more attractive to A&R people? What should they avoid doing?

I actually don’t think they should tailor themselves. That’s what makes them special. Understanding their perspective and why that’s important, that excites me. I don’t want a carbon copy of the next artist. I grew up in Singapore and a lot of artists there were trying to be like another artist from the West. That was never exciting. There already is that artist. I want artists to understand what they bring to the world that’s unique.

I love when artists say no to things, because that means they know what they want. Sometimes the artist knows best, especially when it comes to songs. We want to find this middle ground where you’re not compromising, but also understand why this [change] makes a song better.

Where is A&R heading? Do you anticipate it changing in particular ways?

Artist development will always be at the heart of it. Certain labels have different business models when it comes to A&R. For example, we’re not the sort of label that says you have to do three sessions a day. I have artists who send me iPhone demos and others just send the final record. It’s case-by-case with what they’re comfortable with and when they feel things are ready. The artist knows when things are done.

What do you want people to understand about A&R?

A&R has this weird mystique. It’s almost been this role of secrecy where it’s like you’re a gatekeeper. I want to be transparent. Everyone works differently. Everyone’s roster is sort of aligned to how they are. At Nettwerk, everyone knows what everyone’s working on and helps each other. We’re very collaborative in allowing other A&Rs to jump on projects.

The other side is data and being strategic. We live in a world where fans are the gatekeepers of what song’s a hit. Back in the day, the A&R was sort of like, “These are the singles.” Now, you sort of allow the data to determine what’s going [to work]. It’s the most democratic process we’ve ever had. At the end of the day, that’s all we want fans connecting with songs.

Chloe Weise Donovan

VP of A&R RCA rcarecords.com

Of the artists you’ve signed, which are you most proud? And what made you sure you had a star in the rough?

Walker Hayes’ “Fancy Like” is a song I upstreamed from Monument [Records]. We’d been following him and talking to his team for years. And “Fancy Like” was this phenomenon. We haven’t seen a crossover country moment in the pop zeitgeist like that in some time.

Developing relationships in Nashville while still being a pop person was the reason we were able to upstream that record. I had a built-in relationship with Katie McCartney, GM of Monument. I was the first person she called to be, like, “Hey, this song is happening. Is there something for us to do together?” So, we did a couple remixes, one with Kesha to kind of take it more toward a mainstream pop audience. There’s also a version with Carin Leon, who’s a Mexican artist; there’s a lot of overlap between listeners of regional Mexican music and country music. It became this snowball effect of this hit record that we got to elevate.

I’m a lyric and melody person. Most of the artists I work with either take outside songs or co-write, so I’m involved in the songwriting community. And that was a one-listen record. It reminded me of the demo for “Timber,” the Pitbull/Kesha record, because it was so immediate. After the first listen, you already had half of it stuck in your head.

What qualities make you an effective A&R person?

I’m super-involved in finding songs and putting together songwriting sessions. The most fulfilling part of my job is finding cowriters and producers for [artists] to lock in with. I’m working on a record with Tate McRae. She said, “I want to figure out who are my go-to people that I’m going to make something next level with.” It’s being as on-theground as possible to [identify] who those people are.

There are many ways artists can get the attention of an A&R rep. Which are the most effective? TikTok and social media. All the labels are looking at the same data, so we’re all paying attention to what’s clicking. But I’m lucky to work at RCA, where we’re not purely basing signing decisions on analytics. It still is that human connection. It’s really looking at the songwriting and how much the music speaks to us on a personal level. The fact that we’re able to do deals like that is a blessing.

What should artists do to tailor themselves to be more attractive to A&R people? What should they avoid doing?

Show the true fan connection. Tate McRae is an amazing example of that. She nailed TikTok and has been able to promote her records on there. Beyond that, her lyrics are so personal. That makes people tune in; they feel like they’re reading a page in their diary. Anyone can have a TikTok moment, but it’s having the music and the vision for where you want to go that takes it to the next level.

There are many people taking risks online, which is amazing. But once you get that moment, you want to make sure you have the material to back it up so it’s not just a flash in the pan. You have to be calculated about what comes next.

Where is A&R heading? Do you anticipate it changing in particular ways?

Analytics [show] what people are reacting to, but it only skims the surface. Steve Lacy had a moment this summer with “Bad Habit” and didn’t play the analytics game. He kind of did everything against the norm. As people come out of this data-signing frenzy and see true artist stories like this, real A&R is going to be just as important as it was 20 years ago. Artists will always need a team of people to help them take it to the next level.

What do you want people to understand about A&R?

The perception of A&R is that it’s glamorous. You’re getting face time with artists and doing all these things. The reality is that you’re only as good as your last signing and your last hit, so A&R people need a little grace. We put a lot of ourselves on the line to make artists’ dreams come true. And sometimes that isn’t always appreciated.

Gibson Maestro Pedals

Gibson’s Maestro brand started out with a line of accordion amplifiers as early as 1955. During the 1960s and 1970s, electronic musical instrument pioneers Tom Oberheim and later Robert Moog both worked for Maestro and had a hand in creating some of the world’s first commercially successful guitar effect pedals. The forerunners of the modern stomp box industry as we know it today, these effects included the world’s first commercially available fuzz box, compressor, envelope filter, tape delay, and phaser, as well as the world’s first guitar multi-effect unit. Gibson’s Maestro division continued to sell the pedals until 1979, when the brand was shuttered. That remained the case until last year when Gibson revived the Maestro brand with the release of five guitar effect pedals as part of the Maestro Original Collection

Now, as a follow-up, Gibson’s Maestro division just announced five brand-new guitar effect pedals. The new pedals include the Orbit Phaser, Titan Boost, Mariner Tremolo, Arcas Compressor Sustainer, and Agena Envelope Filter. All five pedals are part of the Maestro Original Collection and are designed to deliver classic vintage tones updated with the modern features and flexibility that today’s guitar players require.

As with the previous range of Maestro pedals, all the new pedals in the series feature fully analog circuitry and true bypass switching. All five pedals share the same basic control layout with three rotary controls and a twoposition toggle switch to select the special functions for each pedal. All five pedals share the same classic mid-century modern color scheme, vintage-styled knobs, and solid steel construction as were found on the first five pedals in the series. The three bugles of the Maestro Logo are LED backlit in red, yellow, and blue and are reminiscent of the color scheme found on the original Maestro effects from the 1960s. The pedals can run on a 9V battery or a 9VDC regulated power supply which is sold separately. The power switch for each pedal is incorporated into the input jack.

The Maestro Orbit Phaser pedal is a direct descendant of the very first phaser, the Maestro PS-1 Phaser. Designed by Tom Oberheim for Gibson back in the early 1970s to recreate the sound of a Leslie Speaker, the Maestro PS-1 and

the later PS-1A was a commercial success and was heard on many classic records of the era, notably by Led Zeppelin’s John Paul Jones on “No Quarter.” Now updated for today’s players, the Maestro Orbit Phaser is an all-analog classic phaser effect. The two-position mini toggle switch selects between four or six stages of phase, which determines the overall amount of phase effect. The three controls―width, rate and feedback―determine the overall intensity and speed of the desired phasing effect. The feedback control emphasizes the amount of the vocal phase effect. The width control works in conjunction with the two-position mode control to fine-tune the overall phase effect. The Maestro Orbit Phaser pedal is available now for $149.

The Maestro Titan Boost pedal delivers 25dB of clean boost, which is enough to drive any tube amp into natural overdrive. Not just a clean boost effect, the Titan Boost gives you

harmonic tremolo mode, which produces a highlow frequency amplitude rotation effect, and a full bandwidth amplitude modulation effect. In classic mode, you can you dial in smooth modulation, while the harmonic mode delivers a harder edge tremolo effect. The three knobs on the Mariner Tremolo control depth, speed, and the waveform shape of the overall tremolo effect from triangle to square. The Maestro Mariner Tremolo pedal is available now for $159.

The Maestro Arcas Compressor Sustainer pedal is designed for maximum versatility. The Arcas Compressor Sustainer pedal delivers studio-quality compression with two modes―high and low, which are selected via the two-position toggle switch. The Maestro Arcas Compressor Sustainer is designed to provide enough sustain and compression for just about any studio or stage situation. The three controls―sustain, level, and attack― are designed to work together to allow you to adjust the amount of compression, the overall output level, and the sensitivity to your pick attack. The Maestro Arcas Compressor Sustainer pedal is available now for $149.

pedals ever created.”

a whole palette of tone-shaping possibilities. The three onboard controls include tone, level, and a sweepable high-pass filter. The level control selects the boost level, while the toggle switch selects between high-pass and flat and works interactively with the sweepable high-pass filter control. The Titan Boost’s tone control also functions as variable low-pass filter. Three controls on the Maestro Titan Boost work together interactively, giving you a surprisingly diverse tonal pallet to help sculpt your tone. The Maestro Titan Boost pedal is available now for $159.

The new Maestro Mariner Tremolo is designed to allow you to dial-in classic amp-like tones reminiscent of early Fender optical tube tremolo circuits. The pedal offers two tremolo modes: harmonic and classic. The two-position mode switch allows you to select between a

Designed to bring on the funk, the new Maestro Agena Envelope Filter pedal is designed for optimized dynamic control. The pedal has three controls: sense, decay, and attack. The two-position toggle switch selects between high and low modes. The low mode setting focuses the filter frequency in a lower frequency range, the high mode emphasizes the higher range of the frequency spectrum. Use the three controls to dial in input sensitivity and how the effect reacts to your picking style. The Maestro Agena envelope filter peal is available now for $159.

The new range of Maestro pedals continues to bring modern recreations of some of the most iconic guitar effect pedals ever created. Gibson clearly has invested a lot of time to recreate the essence of the original effects but has updated them with modern features today’s players demand. Use the pedals individually or combine them to create your own unique tone palette. All five pedals are designed to deliver vintage tones and be easy to use but offer enough tonal flexibility to satisfy even the most experienced tone tweakers.

Find out more at maestroelectronics.com/en-US

“The new range of Maestro pedals continues to bring modern recreations of some of the most iconic guitar effect

Andreas Vollenweider Slow

Flow/Dancer

AVAF Music

Producers: Andreas Vollenweider & Andy Wright

8 Emotional Oranges

The Juice: Vol. III

Avant Garden/Island

Producer: Emotional Oranges

The new age legend follows up Quiet Places by throwing a fascinating curveball by releasing Volumes  2 and 3 on a single set, with six sweetly melodic, easy-grooving and lushly orchestrated tracks representing the “Slow Flow” and five vibrant, densely percussive and exotic vocal-filled pieces reflecting the harpist’s connection and relationship with the people and music of Africa. Listening to the sections consecutively offers an expansive perspective on Vollenweider’s deepest musical passions. – Jonathan Widran

Gorillaz Cracker Island

Parlophone

Producers: Greg Kurstin, Gorillaz and Remi Kabaka Jr.

Artistic trailblazers face a curious problem. Having had so much influence, their innovation feels less potent over time. Cartoony futurists Gorillaz suffer this fate throughout their eighth album, yet never enough to truly dull their luster. Indeed, Cracker Island ought to gratify longtime listeners and newcomers alike. Per usual, unexpected features help animate their Cinemascope vision. Although Beck, Stevie Nicks, and The Pharcyde’s Bootie Brown lend their talents, only Bad Bunny’s Spanish lyrics on “Tormenta” stick out. – Andy Kaufmann

Dave Edwards Band

Every Time I Roll the Dice Sound Shop Studio

Producer: “Motor City” Josh Ford

9

In the early days of MTV Dave Edwards’ band The Look made a splash with the hit “We’re Gonna Rock.” Well, it’s 40-plus years later and the blonde-haired vocalist has lost none of his edge. He’s now a legit soul man that pays tribute to one of his heroes, Delbert McClinton. This baker’s dozen of McClinton favorites is a gumbo seasoned, with Motown, Memphis and Nashville-flavored spices. Edwards and his murderer’s row of Motor City stars do these tunes proud. – Eric Harabadian

Lindsey Webster Reasons

Shanachie

Producers: Lindsey Webster and Keith Slattery

8

With Webster’s transcendently dreamy, lightly funky and infectiously soulful new album, the seductive vocalist and songwriter celebrates an extraordinary decade in Smooth Jazz. This multi-talent— the first vocalist to score a No. 1 on the Billboard Contemporary Jazz chart since Sade—invites an all-star crew to help bring to life this blend of cool brassy romantic silk and deeply intimate songs, including Brian Culbertson (who adds a stellar trombone solo to “I Didn’t Mean It”), Nathan East, Randy Brecker, Nicholas Payton and Kev Choice, who brings a dynamic hip-hop vibe. – Jonathan Widran

In the latest installment of a trilogy by this R&B duo, a slight majority of the lead vocals are handled by “A,” the male singer, whose soothing baritone sets the mood in the opening verse and chorus lines of the album’s introductory track, “Bounce.” Female counterpart, “V,” on the LP’s fourth track, “Devotion,” really shows off her versatility by wielding some exceptional wordplay with her falsetto. Overall, Vol III has everything, from Neo-Soul and Pop to Contemporary R&B and New Jack Swing. – Miguel Costa

8Ken Sharp

I’ll Remember the Laughter Jet Fighter Records

Producers: Ken Sharp and Fernando Perdomo

Sharp spent the pandemic crafting an infectious quadruple album of AM gold and FM platinum-era would-be hits. There are 50 dazzling cuts in all. And when you spin these platters of glitter, power-pop, psych-pop, teen-idol ballads, ‘70s Saturday Morning live action variety show anthems, even ‘80s new wave, you’ll no doubt conclude that Sharp may be one of the most prolific producer-singersongwriter-multi-instrumentalists of our time. I’ll Remember the Laughter is a masterpiece of instant nostalgia you’ll never forget. – Daniel Siwek

Carol Albert

Magic Mirror

Cahara

Producers: Carol Albert, Paul Brown, Roberto Vally

9

Having already streamed in the millions, pianist-composer Carol Albert’s streak of infectious hits continues with the two lead singles from her latest wonderwork, Magic Mirror, whose spirited whirlwinds of melodic grace abound on tracks that range from intimate and meditative to exuberant and funky to exotic and Brazilian flavored. Albert showcases her love for dreamy, easy-flowing contemporary jazz while promoting themes of personal soul escape, selfreflection and post-pandemic reawakening. – Jonathan Widran

Laura Ainsworth You Asked For It

Eclectus Records/Ratspack Records

Producer:

Brian Piper and Laura Ainsworth

The stunning ginger-haired Texan has crooned her way through a series of vintage jazz and American Songbook-oriented albums. Her specialty has been in unearthing rare musical gems. But the public had spoken, prompting Ainsworth to deliver more mainstream fare. However, to paraphrase Frank Sinatra, she did it her way! So, you get a lot of cool intros and alternate arrangements to classic tunes like “Cry Me a River,” “As Time Goes By,” and the timeless James Bond theme “Goldfinger.”– Eric Harabadian

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

Production Lyrics

Music

Vocals

Musicianship

Don Lincoln

Contact: jonkonjoyan@gmail.com Web: Soundcloud

Seeking: Promotion Style: Rap, Alternative

Production Lyrics

Music Vocals

Musicianship

7 8 9 8

8

Over sparse instrumentals and minimal drill drum blasts, rapper Don Lincoln demostrates clever storytelling through exciting, complex flows. On “Batman” in particular, we hear a surprisingly subdued production, relying on sub-synth bass and not much else. “Been Ready” is a darker track that features other emcees, including female voices who build the dramatics. The hook “Blow my brains out/Been ready to die...” verges on grotesque, but you can’t fault Lincoln’s vulnerability speaking on mental health. “Palm Trees” is also a downer in subject matter, though “Bury bodies under palm trees” is admittedly a catchy chorus. He raps fast and we understand every word clearly, references to Lindsay Lohan, Covid and all.

Terry Luxe

Contact: ctpatton90@gmail.com Web: jcr1050.wixsite.com/my-site-1

Seeking: Review Style: Hip-Hop, Rap

Production

Remy Riley

Contact: amanda@trendpr.com Web: remyreilly.com

Seeking: Label, Booking, Film/TV Style: Indie-Pop, Singer-Songwriter

We’re impressed by this Dallas artist’s jazzy, sultry voice, one that works its impressive range on material such as “Lost Without You” where, amid an arrangement of subdued instrumentals, Riley‘s voice emits an array of effective attitudes. What’s most interesting, though, is how the song suddenly shifts, cuts off at half-speed, for an unusually jazzy break. So unexpected, yet so effective. Our favorite is “One Chance,” where the artist sings amid celestial reverb while plucked violins and cellos do their thing. Riley’s only weakness, we feel (and it’s on full display in “Avalanche”), is her tendency to mumble and slur.

Ramleak

Contact: ramleakmusic@gmail.com Web: ramleak.com

Seeking: Booking, Film/TV, Label Style: Techno/Electronic

Production Lyrics Music Vocals

8 7 9 9

8

“Ain’t nobody helping me...” we hear out the gate on “Up 2 Me” from rapper Terry Luxe. “Work that you put in makes it all feel real...” is another line that invokes Luxe’s inspirational persona. He sings/croons the chorus, which needs work to help become more melodic. “Clock (Tictok)” suffers from a similar lackluster chorus and basic vocabulary, verging on nursery rhyme. “Out For You” is another song with a positive message of “work hard, play hard.” This track has Luxe at his most competent and dominating, with an excellent flow, excellent production and sing-songy verses. We suggest Luxe collab with a songwriter who can add some hooks, and a producer who can add cohesiveness on future releases.

Zoe Butler

Contact: zoebutlermusic@gmail.com Web: zoebutler30.wixsite.com/my-site-1 Seeking: Label, Booking, Film/TV

Style: Americana

Nashville via Rhode Island artist Zoe Butler is blessed with a strong, chesty voice that resonates so well with her material, full of observations that offer simplicity and substance in equal measure. When she sings, you listen. A song of lingering regrets over a failed relationship, “Shenandoah” is her most polished, full-band arrangement, building so gently yet never interfering with Butler’s voice. Arrangements are pared down on her next two: the sweet, idyllic, optimistic “Old New England Town By The Sea” and the stark, dark simplicity of “June” (just her voice and guitar) as she muses on the sudden death (murder? suicide?) of a significant other: “Johnny died of heartbreak.” Check her out.

Production Lyrics Music Vocals Musicianship

Ya don’t hear much techno anymore.... But Ramleak could interest Film/TV folks looking for music that fits the genre to a T. His brand of techno is packed with smoldering menace, and a couple of tracks (“Feel So Hot” and “Acclivity”) seem possessed by a demonic spirit from a sweltering netherworld. Each of the tracks have one thing in common—that throbbing, insistent, instantly propulsive techno beat, with Ramleak accenting each composition with an assortment of bells, whistles, dynamic shifts, drops, swirls, cymbals and builds. Considering the onslaught of horror flicks released each year, perhaps Ramleak could add to the images of death and destruction.

Bri Oglu

Contact: amanda@trendpr.com

Web: brioglu.com

Seeking: Label, Booking, Film/TV, Mgmt

Style: Alt-Pop

Artist Bri Oglu explores the uncertain terrain of romantic love in material such as “Slowly,” a chill wave song with dark synths, awesome dynamics and pitch-shifting in the production. Only problem is the song, about an impasse in a relationship, doesn’t really lead to a “big moment.”

Production Lyrics Music Vocals

Next, Oglu’s pretty voice delivers interesting lyrics in the song “Enough” while backed effectively by piano, a rolling synthesizer, and fingersnaps. The artist shows the influence of Billie Eilish in the whispery song “#1,” where she yearns for the love of a partner whose interest in her has sadly waned. We love the choir and organ in the song’s finale, and we encourage Oglu to keep working, keep developing her lyrics.

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 the next page.

Production Lyrics Music Vocals

Me Like Bees

Contact: tsmith@milestonepublicity.com Web: melikebees.com Seeking: Mgmt, Film/TV Style: Indie-Rock

Super-solid indie-rockers Me Like Bees place a high value on hooks and, as on “Radio,” use their all-for-one gang-style vocal power to put each chorus across. Just awesome. And, as on all their recordings, the drums and the guitars sound terrific. Spacey downstroked guitar efforts fuel the song “The Right Stuff,” which of course references the classic astronaut flick: “We’ve got the right stuff! Not too much, just enough!” Best tune of all is “Animal,” which after a cheesy synth-horns intro, delivers a full-on fuzz/funk workout. This recording convinces us that not only can these Bees get a crowd up and shouting along with them, but they have plenty to offer in the area of Film/TV placements.

Leonelle

Contact: iamleonelle@gmail.com Web: iamleonelle.com Seeking: Label, Booking Style: Pop, R&B

Ths artist has a nice voice—emotive and with good range—as she demonstrates on “Never Enough.” And, unchallenged by the subdued arrangement, she articulates so that every word is delivered to the listener. We only wish that the production on her lead and backing vocals were better. The reverb simply works against her.

“Wake Up From Me” raises the activity in the arrangement, including percussive synths that suggest a ticking clock. The only downside here is the singer’s tendency to get too sexy/slurry, causing her vocal-fried finale to remain a mystery. The relaxing sounds of the sea hitting a beach opens “No Pressure” and features an interesting spokenword message: “Without you, I found me.” Keep working.

Alex Nester

Contact: info@alexnester Web: alexnester.com

Seeking: Mgmt, Booking, Film/TV, Label Style: Soul/Funk

Projecting personality, vitality and a great touch at key moments, singer Alex Nester and her full band deliver songs such as “Slingshot,” which has a pop-jazz vibe at times. Though the recording sounds live-in-studio and is not as well mixed as it could be, the result is more than enough to spark our interest in what comes next, and that is “Empty Handed” where Nester duets with singer Sara Niemietz to great effect on a funky, edgy, downtempo tune. Our favorite, the one we most agree on, is “Someone Better,” with its staccatto music box / player-piano over which Nester’s rich tones float above soulfully angelic harmonies. Despite her tendency to over-enunciate at times, there’s plenty to admire in this performer.

Production Lyrics Music Vocals Musicianship

The Forbidden Lovers

Contact: bookthelovers@gmail.com Web: Spotify Seeking: Label Style: Funk, R&B, EDM, World

From India, The Forbidden Lovers bring an amalgam of club sounds, as in “Pain In My Heart,” with its funk & dance profile that leans toward disco. The female voice takes the lead, as the male contributes a feature with a hip-hop flair. Cavernous reverb can’t mask the pitchy-ness of her vocals. “Color My Face” seems Bollywood-inspired and is packed with a succession of interesting touches (exotic chanting, driving dance beats, shifts from light ot dark) that keep the listener engaged. Both singers duet on “Let It Rain,” which for a time sounds like contemporary trap music, then shifts to house/EDM. We advise these Lovers to re-evaluate the production of their music, do more to enhance their presence as vocalists.

Birdeatsbaby

Contact: mishkin@birdeatsbaby.co.uk Web: youtube.com/birdeatsbaby

Seeking: Review Style: Dark Progressive Rock

Production Lyrics Music

Vocals

Musicianship

Dark, spooky, ethereal—and existing in a world whose pace is relentlessly plodding—Birdeatsbaby come at you with a menu of overbaked sonics that challenges the impact of singer Mishkin Fitzgerald. The drummer gets plenty of King Crimson volume on each track, as on “Illuminate,” and he sounds great. Next, the sweet lead vocals on “Ribbons” are at times given a megaphone fx, and it’s here we started to detect whiffs of Evanescence. Carnival organ also adds to the track, which is ultimately burdened with too many movements and ideas. The lead vocals are doubled on “Painkiller” and it sounds good amid a squall of synths. Overall, however, the band is advised to curb its appetite for so many elements. Simplify. Less is more.

Marilyn Scott

Contact: tomestpr@yahoo.com

Web: marilynscott.com

Seeking: Booking

Style: Jazz

Veteran singer and songwriter Marilyn Scott and her full band of excellent players deliver a spate of songs addressing the ongoing threat of climate change and the infinite value of our planet. Gotta also compliment the folks behind the board, who captured these performers in such rich, resonant tones. On “Irreplaceable,” Scott shows how cool a singer she is, while her nimble band conjures the feel of fusion jazzers Weather Report and Jaco Pastorius.

“The Landscape” is a story song in which Scott intones “Let the wilderness be your church.” On “Tomorrow” she warns of the imminent threat to our lives on Earth. In straightforward lyrics, Scott says what she means and means what she says. And we should all listen.

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 musicconnection.com/get-reviewed. All submissions are randomly selected and reviewed by committee.

Production

Rockwood Music Hall New York, NY

Contact: dreamspider@gmail.com

Web: damntallbuildings.com

Players. Max Capistran, guitar, banjo, vocals; Sasha Dubyk, upright bass, vocals; Avery Ballotta, fiddle

Material: Although bluegrass is at the heart of their music, other influences include jazz, swing, and ragtime. Portraying what might be considered the mundane occurrences of everyday life, the trio gives importance to these moments so often overlooked, conveying sincerity in mood and messaging.

In “Dark Window Panes,” a pure bluegrass number, an energetic up-tempo beat contrasts a more melancholy sentiment: Dark window panes/everything looks the same/Deep as an oil stain in your pocket/Layin’ in the morning sun illuminates everyone/ But I couldn’t see much of any at all. Though there is lament in the lyric, the music has a joyful vibe. Dubyk, who is also a painter with a passion for buying shoes, sums it up in “Painter”: I got some new shoes baby and I’m feelin’ fine/And it looks like we got blue skies comin’ up and down the line.

Musicianship: Performing bluegrass without the requisite chops is a potential trainwreck. But this trio is so technically proficient that they can let go and play with abandon, fostering a strong connection with the listener. Guitarist

DAMN TALL BUILDINGS

Capistran, the band’s glue, lays the foundation. Dubryk, the lone female voice in the outfit, brings depth and texture to the overall sound, while fiddler Ballotta adds the dazzle.

Performance: Capistran, acting frontman, excelled at weaving casual banter with song setup. At other times he simply opened a window into their lives and creative process. It’s no wonder that before the band played venues, they were busking on street corners where they honed the ability to become a tight unit while attracting listeners. In that setting, so much is dependent on grabbing the attention of passersby that you must work harder than when you have a rapt audience in a club.

This performance, billed as the release show for their new album, Sleeping Dogs, consisted of mostly original material, but a couple of heavy-hitting covers would be a treat to hear, especially coming from a band of this caliber. However, they did close the show with a cover of “I’ll Not Be A Stranger,” a perfect way to end.

Summary: Aspiring performers could take a lesson from this band. They demonstrate a profound understanding of the performer/ audience relationship as well as the give and take with each other, fully enjoying their time on stage. The band recently locked in a residency at Pete’s Candy store in Brooklyn this coming February. – Ellen Woloshin

pedestrian, but effective in that they allow him the ability to adopt almost any style. Purdy is equally adept on mandolin and other stringed instruments but, in this case, primarily focuses on the Cajon. He brings out a lot of richness and depth of tone through his nimble fingers and intricate beats. Olk-Szost completes the ensemble by providing diversity and legit technique in walking patterns and runs. That low end is the glue that melds it all together.

ACOUSTIC MADNESS

Cadieux Café Detroit, MI

Contact: Bob Monteleone, hanzie.records@ yahoo.com

Web: acousticmadness.com

Players: Bob Monteleone, vocals, acoustic guitars; Jorian Olk-Szost, acoustic upright bass; Mitch Purdy, Cajon, mandolin

Material: True to form, Acoustic Madness likes to play with lyrical and musically unorthodox concepts. They are rooted in Americana (blues, rock, bluegrass, country), but add structural and progressive elements to what they do that

expands the genre. For instance, “Change the Way You Change” sounds like early Radiohead, with its subtle use of special effects and textures. “Loose Lips” harbors 10cc, Beatlesque and Badfinger-type whimsy, with a Tin Pan Alley sensibility. “Well It’s Alright” is an exciting mix of blues, country, trance and jam band.

Musicianship: This is top-shelf talent on display. Monteleone is a multi-faceted guitarist able to shift gears depending on the context of a song and what’s required. From stellar slide work to alternate tunings, he’s got all bases covered. His lead vocals are somewhat

Performance: Before a packed house in this historic Detroit area Belgian hub, the trio began, with a rare nugget from Tom Petty’s early band “Mudcrutch.” And from there they did a nearly 45 minute set dedicated to tracks off their new album Tiffany. A spirited bluegrass piece kicked up the pace and seemed to really connect with the crowd. The tune “Well It’s Alright” further stoked the band’s level of interplay and engagement.

Monteleone’s delicate use of effects and slide work was especially nice. About mid-way through the show, Purdy switched over from mandolin to the Cajon and the groove seemed to deepen, with heavy emphasis on swing and odd time signatures. Some of their performance also reflected a classic Crosby, Stills, Nash & Young/Buffalo Springfield vibe via their mix of intense jamming and melodic hooks.

Summary: Acoustic Madness is a proven roadtested entity. They perform quite a bit on the Detroit and Midwestern scene. Although they have a strong visual presence, their focus is clearly on crafting unique and original songs designed to connect with true music fans and audiophiles. – Eric Harabadian

BRETT CALLWOOD

MARK SHIWOLICH

El Rey Theatre Los Angeles, CA

Contact: Jon Bleicher, jon@prospectpr.com Web: instagram.com/conormaynard/?hl=en

Players: Conor Maynard, vocals; George Layton, deejay; Alvin Ford, drums

Material: Playing for over an hour with various hits from his last 10 years of performing, as well as reimagined cover songs by the Backstreet Boys, Whitney Houston, George Michael, and Shakira, London-based popstar Conor Maynard delivered an energetic, passionate show of danceable music at the Los Angeles stop of

The Viper Room West Hollywood, CA

Contact: anandaacosta@gmail.com

Web: lexilayne.com

Players: Lexi Layne, vocals; Nick Diltz, bass; Chrissy Warner, drums; Kris Injaian, guitars

Material: Lexi Layne is a hard rock/metal group that is very intense and dark but melodic and musical at the same time. The music is hard driving metal/rock with hints of grunge and a “together-ness” that only comes from hours of rehearsal and recording. The lyrics are dark, gloomy and evil and take you to places that only the depraved and depressed go to release their inner fantasies.

Musicianship: The musicianship was excellent all around. While the music was hard driving, focused and direct, the songs were draped with superb, over-the-top vocals and laced with believable angst and agony. Diltz and Warner had the songs thumping to a good rhythm all night while Injaian drove the distortion to new heights on a beautiful 8-string guitar that thundered all the way to Hollywood Boulevard.

Performance: This performance was rockin’! Layne has a stage presence that is unsurpassed in any arena and her confidence shined through from the get-go. Excellent audience acknowledgement kept everyone glued to her next move as she danced around and posed for all the cameras. The band was excellent, keeping the songs tightly fixated on Layne’s cues while keeping the rhythms flawless and contributing to the background vocals that took the songs to the next level.

Broke Me Frist” highlighted his great vocal control and projection. Fabulous remixed renditions of covers from the Backstreet Boys, Whitney Houston, George Michael, and Shakira added fun, unexpected reinterpretations— especially the upbeat hip-hop version of “Careless Whisper,” with rap inserts from ANTH (the opening act for the evening).

Performance: Maynard’s interaction with the crowd was very easy and natural and generated a vibrant energy in the room, although the echo effect on the mic was a bit much and took away from the overall performance. Maynard’s mashup sing-alongs of “Stay” (The Kid Laroi & Justin Bieber), “Shape of You” (Ed Sheeran), and “Despacito” (Bieber) showcased his fabulous energy and charisma as a performer, and the crowd was joyfully engaged throughout the evening.

his 25-date world headliner tour. From soulful vocals on “Nothing But You” that captivated the swaying crowd, and syrupy lovesong lyrics on “Crowded Room,” to the sexy grind of “For The Night” and anthemic “Can’t Say No,” Maynard delivered an engaging set of pop numbers.

Musicianship: With killer drumming from Alvin Ford, Maynard’s vocals were fun and upbeat, and he showcased beautiful falsetto lines, as he delivered his hits “Animal,” “Nothing But You,” and “Someone You Loved.” “Ain’t Got No Friends” had the audience clapping and singing along to refrain ‘I got you,’ and “You

CONOR MAYNARD LEXI LAYNE

Summary: Good outing for Lexi Layne and her crew. Although they lacked a bit in the songwriting department, they earned 3 out of 5 stars by delivering a great live performance for a packed Viper Room in West Hollywood, CA.

Summary: With a strong vocal delivery and great range and musical ability, Maynard’s show presents a fun, upbeat pop experience that engages everyone in the room, drawing from music of various decades to shake things up. Between the sporadic sing-along moments and catchy beats that get you moving and swaying along, Maynard is clearly committed to creating an interactive evening, and makes every effort to engage the audience as part of the show. A unique musical experience for pop fans who want to be a part of it all. – Andrea Beenham

If you like hard rock/metal that will thrash you within inches of your life, check out Lexi Layne at her next show. In the meantime, you can check out Layne’s latest EP, Sinner and Saint, available on all streaming platforms. – Pierce Brochetti

PIERCE BROCHETTI

DEREK HARPER

The Peppermint Club Beverly Hills, CA

Contact: Penny Palmer, ppalmer@ nettwerk.com

Web: instagram.com/presence

Players: Presence, vocals, backing tracks

Material: In only his third-ever live show, hip-hop artist Presence delivered an intimate, intensely passionate performance to a packed house at the Peppermint Club. While his songs navigate dark, challenging topics—including mental health and the loss of a loved one—his ability to share himself fully with the audience is a testament to his character and the community he is committed to building around his music.

Musicianship: Vulnerable and emotive, Presence does not hold back on stage. Taking time to connect visually with various audience members as he sings his truth, his natural rhythms and cadence carry his poignant lyrics through each track. His songs have great momentum and build tension for the listener, with dramatic cutoffs and flourishes from his backing tracks adding intrigue to his material. Known best for diving into his own most vulnerable moments through his music, “You Were My Best Friend” was written to commemorate his grandfather, having penned the song just one week after his passing.

Performance: Show opener “We Did Not Make Sense” delivered great flow and

PRESENCE

emotional delivery, captivating the crowd with his raw openness, while newer release, “Nightmare,” built on the intensity of his vocals and emotion. “Dear Depression” continued with his vulnerable style, describing how Presence navigated his battles with mental health, with the raw lyricism building on the crowd’s investment. Latest single, “I’m Okay I Swear” was a bit rushed and the backing track was a little muddy, but it still delivered a great beat and message. Evening closer “Just Hold On” wrapped the set with the underlying message of all of Presence’s music, and was an

inspiration to anyone struggling through their own darkness.

Summary: Unassuming and genuine, Presence is a rising star of a performer. Unapologetically himself, he delivers a level of authenticity very rarely seen at a live show, making it easy for audience members to fall in love with his relatable artistry and storytelling. His ability to normalize and hold space for some of life’s most challenging emotions makes him a gem of a performer, and creates a palpable bond between him and his fans. – Andrea Beenham

Ricotta’s drumming strategically supports Kennedy’s talents. Using brushes instead of drumsticks helps keep the percussion understated. Although Kennedy never displays hyperkinetic strumming skills, every element of his sunset languor locks perfectly into place. When his playing does slip, the moment gets skillfully masked through subtle maneuvers.

Performance: Kennedy delivers an understated show that matches his musical style. Though he offers little in terms of visual flair, this remains a savvy decision rather than a shortcoming. The message behind each tune and the intent baked into every note come through with unmatched clarity. Funky dancing or attention-grabbing stunts would only dilute the songs’ potency.

SEAN C. KENNEDY

The 5 Spot Nashville, TN

Contact: seanck@seanckennedy.com

Web: seanckennedy.com

Players: Sean C. Kennedy, vocals, guitar; Robert Ricotta, drums

Material: According to his website, Sean C. Kennedy’s musical influences include Prince, Coldplay, and John Mayer. Fittingly, this intimate evening focused exclusively on laidback, emotive pop-rock. Personal without stumbling into maudlin territory, the Scot who

calls Nashville home tugs on heartstrings with nothing more than a golden voice, a guitar, and a percussionist by his side. “Drive By Kisser” concerns an imaginary Japanese girlfriend and was subsequently inspired by the discovery of his popularity in the land of the rising sun. “Hurts to See You Go” is about… does it need to be said? The balance of his catalog seems to fall into this hopeless romantic category.

Musicianship: Most impressive is Kennedy’s ability to engage audiences without a full band, a rare and valuable commodity. Robert

Additionally, he possesses better than average abilities when it comes to between-tune banter; engaging followers through gentle preambles transforms a scant 35-minute set into a grander presentation. During the final number, he elicited “oohs” from those in attendance.

Summary: Notably, the troubadour’s most recent release, 2020’s Let Life Love You, has racked up two million plays. Past collaborators include Nik Kershaw and Duran Duran’s Andy Taylor. He’s obviously generating ample attention without industry backing. Perhaps an even brighter spotlight would shine on Kennedy’s handsome mug if he boasted material that’s beyond the ordinary. As it stands, he’s a sizable talent transmitting tranquil, bittersweet tone poems the average listener will adore. – Andy Kaufmann

SAM SABINASH

APPLE KAUFMANN

Directory of A&R

Here’s our latest list of record labels, giving you names, phone numbers, web info and roster details of majors and indies who actively seek new artists for their companies. All 2023 updates have been supplied by the listees.

1-2-3-4 GO! 420 40th St., Ste. #5 Oakland, CA 94609 510-985-0325 Email: store@1234gorecords.com Web: 1234gorecords.com Styles/Specialties: rock, punk *Do not accept unsolicited material

4AD RECORDS 134 Grand St. New York, NY 10013 212-995-5882 Email: demos@4AD.com Web: 4ad.com

Roster: the National, Deerhunter, Efterklang, Aldous Harding, Beirut, Holly Herndon, U.S.Girls Styles/Specialties: rock/indie

Additional location: 17-19 Alma Rd., SW18 1AA, UK 44-208-870-9724 Email: 4ad@4ad.com, edhorrox@4ad.com Contact: Ed Horrox, A&R

ACTIVATE ENTERTAINMENT 5062 Lankershim Blvd.-174 N. Hollywood CA 91601 818-569-3020 Email: submissions@2Activate.com

Contact: James Arthur How to Submit: Urban, Soul/R&B, HipHop, Pop, Hard Rock, Country; Send Soundcloud &/or YouTube links, socials, list your email & text number

ALLIGATOR RECORDS

Attn: New Material P.O. Box 60234 Chicago, IL 60660 Email: info@allig.com Web: alligator.com

Styles/Specialties: blues, roots, contemporary blues *Please include a letter-sized stamped envelope so we can reply to your submission.

*Due to the large number of submissions we receive, response time is approximately four months or more. All submissions will be responded to by mail; if no legible address is on the demo material, there will be no response. Please keep submissions to a maximum of four songs (If we like what we hear, we’ll ask for more).

*Alligator will NOT accept inquiries or phone calls regarding the receipt or status of submissions. We do not visit artist websites or listen to email submissions

AMATHUS MUSIC P.O. Box 611 Rockville Centre, NY 11571 Email: info@amathusmusic.com, Web: amathusmusic.com

Styles/Specialties: dance, electronic, pop *Do not accept unsolicited material

AMERICAN LAUNDROMAT RECORDS P.O. Box 85 Mystic, CT 06355 860-460-8903 Email: americanlaundromat@hotmail.com Web: alr-music.com

Styles/Specialties: indie rock, tribute compilations

*We do not accept unsolicited materials Joseph H. Spadaro, Founder, President

AMERICAN RECORDINGS (Republic Records/Universal) 2200 Colorado Ave. Santa Monica, CA 90404 Email: mgoldberg@americanrecordings.com Web: universalmusic.com/labels

Styles/Specialties: all genres

*No unsolicited material Rick Rubin, President Michael Goldberg, A&R

APPLESEED RECORDINGS P.O. Box 2593 West Chester, PA 19380 610-701-5755

Web: appleseedmusic.com

Styles/Specialties: AC *accepts demo submissions, see website

ASTRALWERKS 1750 Vine Street Hollywood, CA Email: astralwerks.astralwerks@gmail.com Web: astralwerks.com

Styles/Specialties: electronic, dance, alternative, techno

*No Unsolicited material accepted.

ATLANTIC RECORDS

(Warner Music Group) 812 N. Fairfax Ave. Los Angeles, C 90046 818-238-6800, 818-238-9222

Web: atlanticrecords.com

*No unsolicited material Jeff Vaughn, VP of A&R

ATLANTIC RECORDS GROUP

Paramount Plaza 1633 Broadway, 10th & 11th Floor New York, NY 10019 212-707-2000

Email: pete.ganbarg@atlanticrecords.com

Web: atlantic-records.com

*No unsolicited material

Jeffrey Sledge VP A^R A&R, Riggs Morales, SVP A&R

ATO RECORDS

10 East 40th Street, 22nd Floor New York, NY 10016

212-422-4280

Email: info@atorecords.com Web: atorecords.com

Styles/Specialties: All Genres: pop, rock, acoustic rock, indie

*Demo Submissions will only be accepted by mail Will Botwin, President/CEO

AVERAGE JOE ENTERTAINMENT

3738 Keystone Ave. Nashville, TN 37211 615-733-9983

Email: info@averagejoesent.com Web: averagejoesent.com

Roster: Carter Winter, Cypress Spring, Camo Brian, Austin Tolliver, Bubba Sparxxx, Charlie Farley, Colt Ford, DJ Cannon Banyon, Hatcher, Jeremy McComb, Josh Mirenda, Lenny Cooper, Montgomery Gentry, Rich O’Toole, Sam Grow, Sarah Ross, Shelbykay, Tommy Chayne

Styles/Specialties: country rap

BAR/NONE RECORDS P.O. Box 1704 Hoboken, NJ 07030 201-770-9090

Email: glenn@bar-none.com Web: bar-none.com Styles/Specialties: indie rock

*Unsolicited material accepted Glenn Morrow, Owner

BARSUK RECORDS P.O. Box 22546 Seattle, WA 98110

Email: questions@barsuk.com Web: barsuk.com Distribution: ADA/WEA Styles/Specialties: Indie Rock *Accepts Demo submission, see website Josh Rosenfeld, President

BEGGARS GROUP/ROUGH TRADE (XL Recordings, Beggars Music, 4AD, Matador, Rough Trade) 134 Grand St. New York, NY 10013-1012 212-995-5882

Contact: Sadie Matthew Email: banquet@beggars.com Web: beggars.com Styles/Specialties: indie-rock, pop, electronic and more Roster: Adele, Alabama Shakes, Girl Band, tobias Jesso, Yo La Tengo *Does not accept Demo Submissions

Additional locations: 2035 Hyperion Ave. Los Angeles, CA 90027 323-663-0607

17-19 Alma Rd London, SW18 1AA England 44-208-870-9912

Email: info@begarsmusic.com

BIELER BROS. RECORDS 4100 N. Powerline Rd., #U5 Pompano Beach, FL 33073 954-979-4781

Email: info@bielerbros.com Web: bielerbros.com

Styles/Specialties: hard rock, metal *Accepts unsolicited material, EPK only Jason Bieler, Owner Aaron Bieler, Owner

BIG DEAL MUSIC 15503 Ventura Blvd. #300 Encino, CA 91436 818-922-0807

Email: info@bigdealmusic.com Web: bigdealmusic.com

Styles/Specialties: rock, pop, AC Distribution: Sony/Rec *No unsolicited material Henry Marx, President/CEO

Additional location: 115 29th Ave S Nashville, TN 37212 615-942-8328

BIG LOUD RECORDS Nashville, TN Web: bigloudrecords.com AJ Kassen. SVP Head of A&R, Big Loud Rocks

BIG MACHINE LABEL GROUP 1219 16th Ave., S. Nashville, TN 37212 615-324-7777

Email: allison.jones@bmig.net, mail@bigmachine.us Web: bigmachinelabelgroup.com

Roster: Aaron Lewis, Abbey Cone, Avenue Beat, Ayron Jones, Badflower, Brantley Gilbert, Brett Young, Brock Gonyea, Callista Clark, Carly Pearce, Connor Smith, Canielle Bradbery, Florida Georgia Line, Jamie Fine, Jay Demarcus, Jennifer Nettles, John 5, Laci Kaye Booth, Rascal Flatts, Ray Wylie Hubbard, Sugarland, Tim McGraw Allison Jones, SVP, A&R

BIG NOISE 11 S. Angell St., Ste. 336 Providence, RI 02906 401-274-4770

Email: al@bignoisenow.com Web: bignoisenow.com

Client List: the Beach Boys, Christina Aguilera, Red Hot Chili Peppers, Chicago, Katharine McPhee, J. Geils, Dionne Warwick and Gregory Porter *Currently accepting demo submissions.

*Please call or email first. Al Gomes, A&R

BLACKHEART RECORDS 456 Johnson Ave #202 Brooklyn, NY 11237 212-353-9600 Fax 212-353-8300

Email: gabe@blackheart.com Web: blackheart.com

Styles/Specialties: Rock, Punk

*Unsolicited material accepted, attn: A&R Dept. Zander Wolff, A&R

BLUE ÉLAN RECORDS 10880 Wilshire Blvd., Suite 2000 Los Angeles, CA 90024 Email: info@blueelan.com Web: blueelan.com Kirk Pasich, President, Connor Pasich,VP / Director A&R

BLUE NOTE RECORDS (Universal Music Group) 1750 N. Vine St. Hollywood, CA 90028 323-871-5425

Email: BlueNote@umgstores.com Web: bluenote.com

BOMP/ALIVE NATURALSOUND RECORDS 919 Isabel, Unit G Burbank, CA 91506

Email: label@alive-records.com Web: alive-records.com Roster: Black Keys, Two Gallants, Buffalo Killers, Brian Olive

Distribution: Lumberjack Mordam Music Grp. *Unsolicited material accepted. Do not contact us, we will contact you if we dig what we hear.

CAPITOL CHRISTIAN MUSIC GROUP 101 Winners Circle N Brentwood, TN 37027 615-371-6980, 800-877-4443 Web: capitolchristianmusicgroup.com *No unsolicited material

CAPITOL MUSIC GROUP (Universal Music Group) 1750 Vine Street Los Angeles, CA 310-235-4700 Email: communications@umusic.com Web: capitolrecords.com *No unsolicited material Solomon Sounds, SVP A&R

Additional location: New York (Universal Music Group) 1755 Broadway #6 New York, NY 10019 212-841-8000 Contact: Andrew D. Keller Email: Andrew.keller@umusic.com Web: universalmusic.com/label/capitol-music-group *No unsolicited material

CENTURY MEDIA RECORDS The Century Family, Inc. c/o Sony Music International 25 Madison Ave. New York, NY 10010 Email: mail@centurymedia.com, mike.gitter@centurymedia.com Web: centurymedia.com Styles/Specialties: heavy metal, rock *Unsolicited material accepted, see web for details. Mike Gitter, VP, A&R

CHERRYTREE RECORDS (Universal Records) 2220 Colorado Blvd Santa Monica, CA 90404 Email: info@cherrytreerecords.com Web: cherrytreerecords.com

Styles/Specialties: All genre styles considered Roster: Sting, Lady Gaga, Far East Movement, Ellie Goulding, ROBYN, LMFAO, Keane, Rac & Matthew Koma, The Fratellis, Michael Kiwanuka, The Knux, Tokio Hotel, Sir Sly, Mohambi, Kelis, Milow Scott Enright, A&R

CLEOPATRA RECORDS 9417 Brodie Ln, Austin, TX 78748 310-477-4000  Email: bperera@cleorecs.com Web: cleopatrarecords.com

Styles/Specialties: alternative, gothic, rock, metal, Industrial,  Electronic ,, classics, soundtracks  *We only accept demos/music in digital form.  See website for instructions Brian Perera, President, Tim Yasul, VP/GM

CLICKPOP RECORDS P.O. Box 5765 Bellingham, WA 98227 Email: dave@clickpoprecords.com Web: clickpoprecords.com

Styles/Specialties: folk, metal, pop, punk, electronic, ambient noise and more Dave Richards, A&R

CLUBSTREAM LABEL GROUP Gothenburg Sweden +46 (0) 708 579 753 Email: demo@substream.se Web: clubstream.se

Style/Specialties: techno, all electronic dance music

*Accepts unsolicited material. Do not send rock music, reggae or psy-trance. See website for instructions Hakan Ludvigson, A&R Manager

BY DENISE COSO

CMH RECORDS 2898 Rowena Ave. Los Angeles, CA 90039 800-373-8073 Web: cmhrecords.com

Styles/Specialties: country, bluegrass, electric, children’s, Christmas

COAST RECORDS Nashville, TN 310-325-2800

Email: staff@logginspromotion.com Web: logginspromotion.com

Styles/Specialties: all styles

*Accepts unsolicited material Paul Loggins, A&R

COLUMBIA RECORDS LOS ANGELES (Sony Music) 10202 Washington Blvd. Culver City, CA 92032 310-272-2555 Web: columbiarecords.com

*No unsolicited material

COLUMBIA RECORDS NEW YORK 25 Madison Ave New York, NY 10010 212-833-4000 Email: john.doelp@sonymusic.com Web: columbiarecords.com

*No unsolicited material Rani Hancock, Head of A&R

COMPASS RECORDS 916 19th Ave. S. Nashville, TN 37212 615-320-7672. 800-757-2277

Email: info@compassrecords.com Web: compassrecords.com

Styles/Specialties: celtic, roots

*Accept unsolicited material see website for info Alison Brown, A&R, Garry West, A&R

CONCORD MUSIC GROUP 5750 Wilshire Blvd, Suite 450 Los Angeles, CA 90036 310-385-4455 Web: concordmusicgroup.com

Styles/Specialties: jazz Tom Coulson-Smith, A&R Director

CURB RECORDS 48 Music Sq. E. Nashville, TN 37203 615-321-5080

Email: licensing@curb.com Web: curb.com

Styles/Specialties: country, pop, gospel

*No unsolicited material Bryan Stewart, SVP, A&R

DANGERBIRD RECORDS 3801 Sunset Blvd. Los Angeles, CA 90026 323-665-1144

Email: info@dangerbird.com Web: dangerbirdrecords.com Roster: Butch Walker, Royal Teeth, T. Hardy Morris, Broadheds, JJAMZ, Maritime *We do not accept unsolicited demos Jenni Sperandeo, President DCD2 New York, NY Email: info@dcd2records.com Web: dcd2records.com

DEEP ELM RECORDS Maui, HI 808-214-4407

Email: info@deepelm.com Web: deepelm.com, deepelm.com/submit

Styles/Specialties: indie rock, emo, punk, pop, atmospheric, slowcore, alt-country, instrumental John Szuch, A&R

DEEP SOUTH ENTERTAINMENT P.O. Box 17737 Raleigh, NC 27619 919-844-1515

Email: hello@deepsouthentertainment.com Web: deepsouthentertainment.com

Styles/Specialties: rock

*See website for demo submission policy Steve Williams, A&R

Additional location: P.O. Box 121975 Nashville, TN 37212 615-953-4800

DEF JAM (Universal) 2220 Colorado Ave., 5th Fl. Santa Monica, CA 90404 310-865-4000 Web: defjam.com

*No unsolicited material

Chelsea Blythe, SVP, A&R

Noah Preston, VP, A&R

DEF JAM (NY) 1755 Broadway – 7th Floor New York, NY 10019 212-333-8000

Email: steve.carless@umusic.com Web: defjam.com

Styles/Specialties: hip-hop, rap, urban, R&B

*No unsolicited materia Steve Carless, Sr. Dir VP

DEFEND MUSIC, INC. 1667 N. Main Street Los Angeles, CA 90012 323-305-7315

Email: russell@defendmusic.com Web: defendmusic.com

*We do not Accepts unsolicited material Russell Nygaard, A&R

DELICIOUS VINYL RECORDS 6607 Sunset Blvd. Los Angeles, CA 90028 323-464-7467 Email: contact@deliciousvinyl.com Web: deliciousvinyl.com

*No unsolicited material Michael Ross, A&R/Owner

DELMARK RECORDS 4121 N. Rockwell Chicago, IL 60618 773-539-5001

Email: delmark@delmark.com Web: delmark.com

Styles/Specialties: blues and jazz Elbio Barilari, VP & Artist Director

DIM MAK RECORDS 724 South Spring St. Los Angeles, CA 90014 Email: admin@dimmak.com Web: dimmak.com

Styles/Specialties: edm, pop

DINE ALONE RECORDS 864 Eastern Ave. Toronto, ON Canada 416-585-7885

Email: info@dinealonerecords.com Web: dinealonerecords.com

Styles/Specialties: Various, including rock, indie, punk, R&B, hip-hop, post hardcore and emo Roster: Moneen, Streets of Laredo, the Flatliners, Vanessa Carlton, New Swears, the Lumineers Joel Carriere, Founder-Owner, A&R

DISCHORD RECORDS 3819 Beecher St., N.W. Washington, DC 20007 703-351-7507 Email: dischord@dischord.com Web: dischord.com

Styles/Specialties: punk rock

DOMO MUSIC GROUP 11022 Santa Monica Blvd, #300 Los Angeles, CA 90025 310-966-4414

Email: newtalent@domomusicgroup.com Web: domomusicgroup.com

Styles/Specialties: new age, world music, rock, soundtrack, ambient, electronic *We accept unsolicited material. See website for details

D’MAR ENTERTAINMENT, INC. 7723 Tylers Pl. Blvd., Ste. 275 West Chester, OH 45069 513-617-2392 Web: dmarmusic.com

Styles/Specialities: smooth jazz, R&B, gospel *Accepts unsolicited material

DRAG CITY RECORDS P.O. Box 476867 Chicago, IL 60647 312-455-1015 Fax 312-455-1057 Email: radio@dragcity.com Web: dragcity.com Styles/Specialties: rock, hard rock, experimental *Does not accept Demos

DUALTONE RECORDS 3 Mcferrin Ave. Nashville, TN 37206 615-320-0620 Email: info@dualtone.com Web: dualtone.com

Styles/Specialties: country, rock

ELEKTRA 1633 Broadway 10th & 11th Floor New York, NY 10019 212-707-2130 Web: elektramusicgroup.com Johnny Minardi, VP, A&R

Additional location: 3400 W. Olive Ave. Burbank, CA 91505 818-238-2200

EMI CHRISTIAN MUSIC GROUP (CMG) 101 Winners Circle N Brentwood, TN 37027 800-877-4443, 615-371-6980 Email: radio@capitolcmg.com Web: capitolchristianmusicgroup.com

*No unsolicited material

EMI MUSIC GROUP

(See Universal Music Group) Web: universalmusic.com

*No unsolicited material

ENTERTAINMENT ONE MUSIC 2700 Pennsylvania Ave. Suite 1000 Santa Monica CA 90404 4201 Wilshire Blvd. Suite 400 Los Angeles, CA 90010

Additional locations: 11-13 East 26th Street New York, NY 10010

Renegade83 15301 Ventura Blvd, Bldg. D Suite 350 Sherman Oaks, CA 91403 134 Peter St. Suite 700 Toronto, Ontario, Canada

EPIC 10202 W. Washington Blvd. Culver City, CA 90232

310-272-2220 Web: epicrecords.com

Contact: Ezekiel Lewis, EVP & Head of A&R, Jermaine Pegues, VP A&R, Patrick Afeku, Sr. Director A&R *No unsolicited material

Styles/Specialties: Various, including pop, R&B, rock and hip-hop Distribution: Sony Music Entertainment Roster: DJ Khaled, Judas Priest, Meghan Trainor, Sade, Travis Thompson, Jez Dior, Jidennam, (see website)

EPITAPH / ANTI (WMG) 2798 Sunset Blvd. Los Angeles, CA 90026 213-355-5000

Email: radio@epitaph.com Web: epitaph.com

Styles/Specialties: alternative rock, post-hardcore, punk rock, hip-hop, metalcore

*Accepts unsolicited material. See website for instructions Chris Foitel, SR VP

EQUAL VISION P.O. Box 38202 Albany, NY 12203-8202 518-458-8250

Email: music@equalvision.com Web: equalvision.com Dan Sandshaw, GM/A&R

*accept unsolicited submission

FAT POSSUM RECORDS P.O. Box 1923 Oxford, MS 38655 662-234-2828 Fax 662-234-2899

Email: matthew@fatpossum.com Web: fatpossum.com

Styles/Specialties: indie

*Accepts unsolicited material Matthew Johnson, President Bruce Watson, Director, A&R

FAT WRECK CHORDS 2196 Palou Ave. San Francisco, CA 94124 415-284-1790

Web: fatwreck.com Styles/Specialties: punk

FAVORED NATIONS RECORDS 17328 Ventura Blvd, #165 Encino, CA 91316

Email: info@favorednations.com Web: favorednations.com

Styles/Specialties: all styles welcome

FEARLESS RECORDS 5870 W. Jefferson Blvd., Studio E Los Angeles, CA 90016 310-730-6655

Email: cody@fearlessrecords.com Web: fearlessrecords.com

Styles/Specialties: pop-punk, punk rock, emo, alternative rock, post-hardcore

*Accepts unsolicited material. See website for instructions Bob Becker, Owner/A&R

FERVOR RECORDS 1810 W. Northern Ave., Ste. A-9 Box 186 Phoenix, AZ 85021 602-870-1788

Email: info@fervor-records.com Web: fervor-records.com

Styles/Specialties: vintage, new indie *We do not accept unsolicited submissions Jeff Freundlich, Exec. Producer

FIRE TOWER ENTERTAINMENT

Located in West Hollywood, CA Email: artists@firetowerent.com Website: firetowerent.com

Contact: Evan Griffith/Ruth Nichols Styles: Pop, Indie Clients: Wesley Stromberg, Michael Blum, Sophie Ann. full roster on website Services: Artist Management, A&R consulting, horn contracting

*Accepts unsolicited material

FONOVISA (Universal Music Group) Woodland Hills, CA Web: universalmusica.com

*Accepts unsolicited material

FUNZALO RECORDS P.O. Box 2518 Agoura Hills, CA 91376 520-628-8655

Email: dan@mikesmanagement.com Web: funzalorecords.com Michael J. Lembo, President Dan Agnew, General Manager

GEARHEAD RECORDS P.O. Box 2375 Elk Grove, CA 95759 916-897-2451

Email: info@gearheadrecords.com Web: gearheadhq.com

Styles/Specialties: rock n’ roll, outlaw country, punk, garage, rockabilly and sleaze metal

*No unsolicited material Michelle Haunold, President

GEFFEN

See Interscope

GLASSNOTE RECORDS 770 Lexington Ave New York, NY 10065 646-214-6000

Contact: michael@glassnotemusic.com Web: glassnotemusic.com

GOGIRLSMUSIC.COM

Email: gogogirlsmusic@gmail.com Web: gogirlsmusic.com

Styles/Specialties: all genres

*The oldest and largest online community of indie women in music Madalyn Sklar, A&R

HOLLYWOOD RECORDS – LOS ANGELES 500 S. Buena Vista St., Old Team Bldg. Burbank, CA 91521

818-560-5670

Email: hollywoodrecords@gmail.com Web: hollywoodrecords.com

*No unsolicited material, No MP3s Mike Daly, Exec. Director, A&R

HOPELESS RECORDS 15918 Arminta St. Van Nuys, CA 91406-1806 818-997-0444

Email: information@hopelessrecords.com Web: hopelessrecords.com Eric Tobin EVP, Business Dev. & A&R

ISLAND RECORDS (UMG) 2220 Colorado Ave Santa Monica, CA 888-583-7176

Contact: Darcus Beese, President Web: universalmusic.com/label/island-records

INTERSCOPE 2220 Colorado Ave., 5th Fl. Santa Monica, CA 90404 310-865-1000 Email: sam.riback@umusic.com Web: interscoperecords.com *No unsolicited material

Nicole Wyskoarko, EVP and Co-Head of A&R Aaron “Dash” Sherrod, President of Urban A&R

IPECAC RECORDINGS Email: info@ipecac.com Web: ipecac.com, facebook.com/ipecac

Distribution: Fontana

Roster: Fantomas, Melvins Big Band, Northern State, Dalek, Skeleton Key, Peeping Tom, Dub Trio Greg Werckman, A&R

JAGGO RECORDS, LLC 515 Flower St. 18th Street Los Angeles, CA 90071 323-850-1819

Email: jaggo@jaggo.com Web: jaggo.com

Styles/Specialties: pop, rock, jazz, R&B, hip-hop, soul, World *Unsolicited material accepted

K RECORDS P.O. Box 7154 Olympia, WA 98507 360-786-1594

Email: promo@krecs.com Web: krecs.com Roster: Kimya Dawson, the Curious Mystery, the Blackouts Calvin Johnson, Owner

KOBALT MUSIC 8201 Beverly Blvd., #400 Los Angeles, CA 90048-4505 310-967-3087

Email: info@kobaltmusic.com Web: kobaltmusic.com

Additional locations: 2 Gansevoort St. – 6th Fl New York, NY 10014 212-247-6204

Bob Bortnick, SVP, Creative 907 Gleaves St., Ste. 101 Nashville,TN 37203 615-321-8585

956 Brady Ave NW, 2nd Fl Atlanta, GA 30318 404-954-6600

Al McLean, SVP, Creative 2100 Ponce De Leon Blvd Suite 1230 Coral Cables, FL 33134 305-456-1624

The River Building 1 Cousin Lane London, England EC4R 3TE +44 (0) 207 401 5500

LITTLE FISH RECORDS P.O. Box 19164 Cleveland, OH 44119 216-481-1634

Email: littlefishrecords@gmail.com Web: littlefishrecords.com

Styles/Specialties: roots reggae, jam band, jazz, pop

*Accepts unsolicited material

Lawrence Koval, President, Artist Mgmt

LIZARD SUN ENTERTAINMENT San Pedro, CA 310-505-3958

Email: Floyd@lizardsunentertainment.com Web: cliffmorrison.com

Roster: Cliff Morrison Floyd Bocox, CEO

LOVECAT MUSIC P.O.Box 548, Ansonia Station New York, NY 10023

Email: lovecatmusic@gmail.com Web: lovecatmusic.com

Styles/Specialities: rock, country, folk

*No unsolicited material

MACK AVENUE 18530 Mack Ave., Unit #299 Grosse Pointe Farms, MI 48236 888-640-6225

Email: info@mackavenue.com Web: mackavenue.com

Styles/Specialties: jazz

MALACO RECORDS 3023 W. Northside Dr. Jackson, MS 39213 601-982-4522, 800-272-7936 Email: demo@malaco.com Web: malaco.com

Styles/Specialties: gospel, R&B, spoken word, jazz, blues, soul

*No unsolicited material

Tommy Couch, Jr., President/R&B, A&R Wolf Stephenson, VP, A&R Matt Kivett, Director, Gospel

MATADOR RECORDS 134 Grand Street New York, NY 10013 212-995-5882 Fax 212-995-5883 Email: jake@matadorrecords.com Web: matadorrecords.com

Styles/Specialties: all styles

*No Unsolicited Material

Jake Whitener, Director of A&A

Additional location: 17-19 Alma Rd. London, SW18 1AA U.K. +020-8875-6200

MERGE RECORDS 409 E. Chapel Hill St Chapel Hill, NC 27514 919-688-9969

Email: merge@mergerecords.com Web: mergerecords.com

Styles/Specialties: alt-rock Roster: See website for roser

MEROKE SKY RECORDS Van Nuys, CA 818-427-2712

Styles/Specialties: folk/rock/Americana/Country Roster: Barry Goldberg, Alex Del Zoppo, Tony Kaye, Todd Taylor, Alex Sherman, Andrew Wraith, Matt Michenzie Mike Giangreco, A&R

METAL BLADE RECORDS 5632 Van Nuys Blvd., #1301 Sherman Oaks, CA 91401 818-597-1964

Email: metalblade@metalblade.com Web: metalblade.com Styles/Specialties: heavy metal, progressive, rock *See website for Demo Submission Brian Slagel, President

Additional location: Metal Blade Records GMBH Friedrichstr.38 73033 Goppingen, Germany

METROPOLIS RECORDS PO Box 974 Media, PA 19063 Attn: Demos 610-595-9940

Email: demo@metropolis-records.com Web: metropolis-records.com

Styles/Specialties: electronic, industrial, goth *Accepts unsolicited material by CD or CD-R

MILAN ENTERTAINMENT Sherman Oaks, CA Email: jc.chamboredon@milanrecords.com Web: milanrecords.com

Styles/Specialties: soundtracks, electronic, world

MINT RECORDS P.O. Box 3613, M.P.O. Vancouver, BC Canada V6B 3Y6 604-669-MINT Email: info@mintrecs.com Web: mintrecs.com

Roster: Duotang, Duplex, Fanshaw, Hot Panda, Immaculate Machine

Styles/Specialties: indie *Send demos via mail

MOM + POP RECORDS Web: momandpopmusic.com Roster: Tom Morello, Sleater-Kinney, Sleigh Bells, Courtney Barnett Hannah Gross, VP and Head of West Coast A&R

MORPHIUS RECORDS 100 E. 23rd St. Baltimore, MD 21218 410-662-0112 Email: david@morphius.com Web: morphius.com Styles/Specialties: rock, punk, hip-hop, experimental MOTOWN 1750 North Vine Street Hollywood, CA 90028 Web: motownrecords.com

*No unsolicited material accepted

MRG RECORDINGS Los Angeles, CA 310-629-9782

Email: info@mrgrecordings.com, submission@mrgrecordings.com Web: mrgrecordings.com

Styles/Specialties: rock, electronic, ambient, folk

NETTWERK RECORDS 1675 West 2nd Ave, 2nd Floor Vancouver, B.C. V6J 1H3 604-654-2929

Email: info@nettwerk.com Web: nettwerk.com

*No unsolicited material

Meg Tarquinio, VP Strategy & A&R (New York

Spencer Kelley, A&R, New York/London)

Marshall Altman, VP, A&R (Nashville)

Mark Abramowitz, Director, A&R (Nashville)

Eric Robinson, Director, A&R (Los Angeles)

Additional locations: 3900 West Alameda Ave, Suite 850 Burbank, Ca 91508 747-241-8619

263 S 4th St. PO Box 110649 Brooklyn, NY 11211 212-760-1540

NEW PANTS PUBLISHING INC. & OLD PANTS PUBLISHING INC.

119 N. Wahsatch Ave Colorado Springs, CO 80903 719-632-0227 Fax 719-634-2274

Email: rac@crlr.net Web: newpants.com, oldpants.com

Styles/Specialties: all genre styles considered

Roster: Stephanie Aramburo, Chad Steele, C. Lee Clarke, Tech T, James Becker, Kathy Watson, Lisa Bigwood, George Montalbano, Silence, Sherwin Greenwood, Joel Diehl, John Ellis and Rocky Shaw.

*Unsolicited material through management or lawyer only. Please call or Email before submitting.

Robert A. Case, A&R

NOFACE RECORDS 1763 N Gower St Los Angeles, CA 90028

Email: demos@nofacerecords.com Web: nofacerecords.com, facebook.com/nofacerecordsofficial

Styles/Specialties: edm, all styles of electronic music including house, dubstep, bigroom, techno, trance, trap, etc. *Email demos of your unsigned electronic music

NONESUCH RECORDS 1633 Broadway New York, NY 10019 212-275-4910

Email: info@nonesuch.com Web: nonesuch.com

Roster: Emmylou Harris, Joni Mitchell, Gipsy Kings, KD Lang, Randy Newman, Wilco, Brian Wilson, Stephen Sondheim, Kronos Quartet, Youssou N’Dour, Buena Vista Social Club, Laurie Anderson and more.

Styles/Specialties: jazz, classical, Americana, singersongwriter, contemporary, world, pop *No unsolicited material

OGLIO ENTERTAINMENT 3540 W. Sahara Ave., #308 Las Vegas, NV 89102 702-800-5500 Web: oglio.com Contact: Carl Caprioglio, Mark Copeland Roster: the Leftovers, Foreign Globester, Margo Guryan, BigBang, Beatallica, George Lopez, Jackie “Joke Man” Martling, comedy, reissues, novelty, soundtracks, Brian Wilson (Beach Boys), Robbie Krieger (the Doors), Ray Manzarek (the Doors), Wisely, Phunk Junkeez, Bouquet of Veal and Ogden Edsl Carl Caprioglio, President

OH BOY RECORDS P.O. Box 150222 Nashville, TN 37215 615-742-1250 Email: info@ohboy.com Web: ohboy.com

Styles/Specialties: country *No unsolicited materials

OMNIVORE RECORDINGS 4470 W. Sunset Blvd., Suite 209 Los Angeles, CA 90027 877-733-3931 Ext. 333 Email: cary@conqueroo.com Web: omnivorerecordings.com *Not accepting demos

ORCHARD 23 E. 4th St., 3rd Fl. New York, NY 10003 212-201-9280

Email: communications@theorchard.com Web: theorchard.com Brad Navin, CEO

PAPER GARDEN RECORDS

170 Tillary St., Apt. 608 Brooklyn, NY 11201

Contact: Caleb Olson, Dir. of A&R Email: caleb@papergardenrecords.com Web: papergardenrecords.com

Roster: Laura & Greg, Denny Love, The Due Diligence, Hnry Flwr, Big Brutus

PEAK 30765 Pacific Coast Hwy., Ste. 134 Malibu, CA 90265 805-370-0609

Email: peakrecordsusa@gmail.com Web: peak-records.com

*No unsolicited material

Styles/Specialties: smooth jazz, urban AC, and Pop Artists Andi Howard, President

POSI-TONE P.O. Box 2848 Los Angeles, CA 90294 310-871-2652 Email: info@posi-tone.com Web: posi-tone.com

Styles/Specialties: jazz

Roster: Michael Dease, Doug Webb, Behn Gillette, Brian Charette, Walt Weiskopf, Ed Cherry, David Gibson, Ken Fowser, Art Hirahara, Ralph Bowen Marc Free, A&R

PPL- ZMI ENTERTAINMENT GROUP, INC 310-962-3873

Email: pplzmi@aol.com

*No unsolicited material accepted

PRA RECORDS 1255 Fifth Ave., Ste. 7K New York, NY 10029 212-860-3233 Email: pra@prarecords.com Web: prarecords.com

Styles/Specialties: jazz Distribution: E-1 Patrick Rains, A&R

PRAVDA RECORDS 4245 N Knox, Suite 7 Chicago, IL 60641 773-763-7509

Email: kenn@pravdamusic.com Web: pravdamusic.com

Styles/Specialties: rockabilly, pop, blues Distribution: ADA

PRIMARILY A CAPPELLA P.O. Box D San Anselmo, CA 94979 415-419-5509

Email: harmony@singers.com Web: singers.com

Styles/Specialties: a cappella

*Unsolicited material accepted

PUTUMAYO WORLD MUSIC

Attn: A&R 413 Carpenter Rd. Charlotte, VT 05445 212-625-1400 800-995-9588

Email: info@putumayo.com

Web: putumayo.com

*Accepts unsolicited materials.

RAMP RECORDS Santa Barbara, CA Email: info@ramprecords.com Web: ramprecords.com

Styles/Specialties: eclectic Roster: Michael McDonald, Jeff Bridges

*No unsolicited material

RCA RECORDS 6363 Sunset Blvd Los Angeles, CA 90028 Web: rcarecords.com

*No unsolicited material

Additional locations: 25 Madison Ave. New York, NY 10010 Web: rcarecords.com

*No unsolicited material

9 Derry St. 4th Floor London, W8 5HY England Web: sonymusic.co.uk

RED BULL RECORDS 9044 Melrose Ave. Hollywood, CA 90069 323-606-7680

Email: customercare@redbullrecords.com Web: redbullrecords.com

*Demo submission accepted

Additional location: 1750 Stewart Street Santa Monica, CA 90404 310-393-4647

RED HOUSE RECORDS 916 19th Avenue South Nashville, TN 37212 800-757-2277, 615-320-7672 Web: redhouserecords.com

RELAPSE RECORDS 8701 W Chester Pike Upper Darby, PA 19082 610-734-1000 Email: brian@relapse.com Web: relapse.com Styles/Specialties: metal, rock Rennie Jaffe, VP, A&R

REPUBLIC RECORDS 1755 Broadway, 8th Fl. New York, NY 10019-3743 212-333-8000 Email: robert.stevenson@umusic.com Web: republicrecords.com Rob Stevenson, Exec. VP/ Head of A&R

Additional location: 2220 Colorado Ave. 3rd Fl Santa Monica, CA 90404-3506 310-865-8470 Email: ben.adelson@umusic.com Web: republicrecords.com Ben Adelson, SVP, A&R

REVELATION RECORDS P.O. Box 5232 Huntington Beach, CA 92615 714-842-7584

Email: webmaster@revhq.com Web: revhq.com

Styles/Specialties: hardcore, punk, emo *Unsolicited material accepted

RHYMESAYERS ENTERTAINMENT 2411 Hennepin Ave., S Minneapolis, MN 55405 612-977-9870

Email: info@rhymesayers.com Web: rhymesayers.com facebook.com/Rhymesayers

Styles/Specialties: hip-hop/rap Brent Sayers, CEO

RISE RECORDS 15455 N.W. Greenbrier Pkwy, Ste. 115 Beaverton, OR 97006 Web: riserecords.com

*Accept unsolicited material

ROADRUNNER RECORDS Warner Bros. Group 1633 Broadway New York, NY 10019

Email: publicity@roadrunnerrecords.com Web: elektramusicgroup.com/roadrunnerrecords

ROCKZION RECORDS 673 Valley Dr. Hermosa Beach, CA 90254 310-379-6477 Fax 310-379-6477

Email: rockzionrecords@rockzion.com Web: rockzion.com

Styles/Specialties: Christian and crossover rock

ROIR (say ROAR!)

(Reachout International Records) 540 President St. Brooklyn, NY 11215 718-477-ROIR (7647)

Email: accounts@roir-usa.com Web: roir-usa.com

Styles/Specialties: punk, reggae, rock

*Unsolicited material accepted, but look at our website so you know who we are.

ROUNDER RECORDS Nashville, TN 629-401-3901

Email: info@rounder.com Web: rounder.com

*No unsolicited material

Styles/Specialties: roots music

ROUND HILL MUSIC 650 Fifth Ave., Suite 1420 New York, NY 10019 212-380-0080

Email: info@roundhillmusic.com Web: roundhillmusic.com

Jonnie Davis, SVP, A&R

Additional locations: Los Angeles, CA 1411 5th St., Suite 305 Santa Monica, CA 90401 310-451-4100

Nashville, TN 1802 Grand Ave. Nashville, TN 37212 615-292-5100

Josh Saxe, Associate Director, A&R

ROYNET, THE ROYALTY NETWORK, INC. 224 W. 30th St., Ste. 1007 New York, NY 10001-1077 212-967-4300

Email: drew@roynet.com Web: krianmusicgroup.com Drew Witte, A&R

Additional location: 12711 Ventura Blvd. #217 Studio City, CA 91604

Email: ian@roynet.com 818-762-0775 Ian Fletcher, A&R

SADDLE CREEK RECORDS P.O. Box 8554 Omaha, NE 68108 402-558-8208

Email: info@saddle-creek.com Web: saddle-creek.com

Styles/Specialties: rock, electronica, country rock

*Accepts unsolicited material Amber Carew, A&R

SHANGRI-LA PROJECTS P.O. Box 40106 Memphis, TN 38174 901-359-3102

Email: sherman@shangrilaprojects.com Web: shangrilaprojects.com

Styles/Specialties: alternative rock Sherman Willmott, A&R

SIX DEGREES RECORDS P.O. Box 411347 San Francisco, CA 94141 415-626-6334

Email: publicity@sixdegreesrecords.com Web: sixdegreesrecords.com

Styles/Specialties: world music, ambient, folk, contemporary classical and intelligent pop music *No unsolicited material

SKAGGS FAMILY RECORDS P.O. Box 2478 Hendersonville, TN 37077 615-264-8877 Fax 615-264-8899

Email: bobby@skaggsfamilyrecords.com Web: skaggsfamilyrecords.com Contact: Ricky Skaggs, Charlotte Scott

SO MUCHH NOISE URBAN (SMN) Atlantic Records 212-707-2000 323-577-7677 Email: Somuchhnoise@gmail.com Genre Styles: Rap/Hip-Hop/ Pop/ Country/ R&B/ Dancehall/ Kids Bop/ Gospel and ALL Submissions: Accepts Demos and Unsolicited for Urban genres only Sarah Hall, President of A&R  Chris Jones, Vice President of A&R

SONIC PAST MUSIC, LLC 11271 Ventura Blvd. #205 Studio City, CA 91604 818-203-9999 Email: joeystec@gmail.com Web: sonicpastmusic.com

Styles/Specialties: specializes in unreleased material by famous artists and cult-based musicians of the ‘60s-‘90s Joey Stec, President

SONIC SAFARI MUSIC / JONKEY ENTERPRISES 663 W. California Ave. Glendale, CA 91203 818-242-4034

Email: chuck@sonicsafarimusic.com Web: sonicsafarimusic.com

Styles/Specialties: environmental, world, traditional, ethnic

Distribution: Indies Chuck Jonkey, A&R

SST P. O. Box 1 Taylor, TX 76574 206-309-5331

Web: sstsuperstore.com

Styles/Specialties: rock, jazz, punk progressive rock *Unsolicited material accepted

STEF ANGEL MUSIC GROUP 310-388-5880

Email: info@stefangelmusic.com Web: stefangelmusic.com Contact: Stefaniah McGowan, Exec. Music Producer, A&R Accepts unsolicited material Email to: musicsubmission@stefangelmusic.com

SUB POP RECORDS

2013 4th Ave., 3rd Fl. Seattle, WA, 98121 206-441-8441

Email: info@subpop.com Web: subpop.com

*Accepts unsolicited materials Tony Kiewel, Head, A&R

SUMERIAN RECORDS 3330 Cahuenga Blvd. W. #500 Los Angeles, CA 90068 424-832-7275

Email: info@sumerianrecords.com Web: facebook.com/SumerianRecords Ash Avildsen, President

SURFDOG RECORDS 1126 S. Coast Hwy. 101 Encinitas, CA 92024 760-944-8000 Fax 760-944-7808

Email: demo@surfdog.com Web: surfdog.com

Styles/Specialties: rock Roster: Brian Setzer, Stray Cats, Richard Cheese, Gary Hoey, Rusty Anderson, Slightly Stoopid, Dan Hicks, But-

thole Surfers, Gibby Haynes, Dylan Donkin, Dave Stewart, the Wylde Bunch, Burning of Rome

*Unsolicited material accepted Scott Seine, A&R

THIRD MAN RECORDS 623 7th Ave. S. Nashville, TN 37203-4601 615-891-4393 Email: Nashvillestore@thirdmanrecords.com Web: thirdmanrecords.com

Styles/Specialties: Various genres, specialize in vinyl records pressing Roster: Jack White, the Dead Weather, Olivia Jean, the Raconteurs, the White Stripes, Wanda Jackson, Wolf Eyes, Karen Elson Jack White, Founder Ben Swank, Co-Founder

THUMP RECORDS P.O. Box 9605 Brea, CA 92822 909-595-2144

Email: customersupport@thumprecords.com Web: thumprecords.com

Styles/Specialties: Latin rap, old skool, rap, R&B, Latin, oldies, disco

*Unsolicited material accepted

TOOTH & NAIL P.O. Box 12698 Seattle, WA 98111-4698 Web: toothandnail.com

TRIPLE CROWN RECORDS P. O. Box 222132 Great Neck, NY 11022 Email: info@triplecrownrecords.com Web: triplecrownrecords.com Fred Feldman, President

UNIVERSAL MUSIC GROUP 2220 Colorado Ave., 3rd Fl. Santa Monica, CA 90404 310-865-4500 Web: universalmusic.com

URBAN & LAZAR Email: help@urbandlazar.com Web: urbandlazar.com

Styles/Specialities: indie rock, alternative, singersongwriter *We do not accept unsolicited material

VANGUARD RECORDS (Concord) 5750 Wilshire Blvd, Suite 450 Los Angeles, CA 90036 310-385-4455

Email: info@vanguardrecords.com Web: vanguardrecords.com

Syles/Specialties: jazz, folk music *No unsolicited material

VERVE MUSIC GROUP-UMG Santa Monica, CA Email: contact@vervemusicgroup.com Web: vervemusicgroup.com, universalmusic.com

Styles/Specialties: jazz, adult contemporary, classical *No unsolicited material

VICTORY RECORDS 346 N. Justine St., 5th Fl. Chicago, IL 60607 312-666-8661 Email: contact@anothervictory.com Web: victoryrecords.com Styles/Specialties: rock, punk, metal Tony Brummel, Founder

*Accepts unsolicited demos

VIRGIN RECORDS (see Capitol Music Group)

WARNER BROS. NASHVILLE 20 Music Sq. E. Nashville, TN 37203 615-748-8000 Email: nashville.ar@wbr.com Web: warnermusicnashville.com

*No unsolicited material

Scott Hendricks, Exec. VP, A&R Cris Lacy, Exec. VP, A&R

WARNER RECORDS 777 S Santa Fe Ave Los Angeles, CA 90021 818-846-9090

Web: warnerbrosrecords.com

*No unsolicited material

Karen Kwak, EVP Head of A&R Ericka Coulter SVP, A&R

WARNER MUSIC GROUP 1633 Broadway New York, NY 10019 212-275-2000 Web: wmg.com

*No unsolicited material

Mike Caren, President Worldwide, A&R

WARNER MUSIC LATINA 555 Washington Ave., 4th Fl. Miami Beach, FL 33319 305-702-2200 Fax 305-266-8771

Email: gabriella.martinez@wmg.com Web: facebook.com/warnermusiclat

*No unsolicited material

Gabriella Martinez, VP Marketing

WICKED COOL RECORDS 434 6th Ave., Ste. 6R New York, NY 10011 347-229-2960

Email: info@wickedcoolrecords.com, scott@wickedcoolrecords.com Web: wickedcoolrecords.com

Styles/Specialties: garage rock WILD RECORDS Web: wildrecordsusa.com

Styles: rockabilly, blues, surf, garage and soul.

Reb Kennedy, President, Founder

Directory of Music Attorneys

Never sign anything until you have a qualified legal pro look over it first. Expert legal advice is essential to any successful career, and this exclusive MC list updated for 2023 will help you connect with an attorney who can advocate for you.

ALABAMA

ADAMS AND REESE, LLP

Regions Harbert Plaza 1901 6th Ave. N., Ste. 3000 Birmingham, AL 35203 205-250-5000

Web: adamsandreese.com

Specialty: Entertainment Law, Music Law, Intellectual Property

Additional location: RSA Battle House Tower 11 N. Water St., Ste. 23200 Mobile, AL 36602 251-433-3234

M.S. McNAIR 2151 Government St. Mobile, AL 36606 251-450-0111

Email: msm@mcnair.com Web: msmcnairlaw.com

Contact: Michael S. McNair

Specialty: contracts

ALASKA

DAVIS WRIGHT TREMAINE, LLP 188 W. Northern Lights Blvd. Anchorage, AK 99503-3985 907-257-5300 Fax 907-257-5399

Email: jondawon@dwt.com Web: dwt.com

Contact: Jon Dawon

Specialty: Litigation

DORSEY & WHITNEY LLP 1031 W. 4th Ave., Ste. 600 Anchorage, AK 99501-5907 907-276-4557

Email: mills.mike@dorsey.com Web: dorsey.com

Contact: Michael Mills, Partner Specialty: Intellectual Property

PERKINS COIE 1029 W. 3rd Ave., Ste. 300 Anchorage, AK 99501-1981 907-279-8561 Fax 907-276-3108

Email: sGillstrm@perkinscoie.com Web: perkinscoie.com

Contact: Sarah C. Gillstrom, Partner Specialty: LItigation

ARIZONA

LEWIS ROCA ROTHGERBER CHRISTIE, LLP 201 East Washington St., Suite 1200 Phoenix, AZ 85004 602-262-5311, 602-262-5747

Email: mcurry@lewisroca.com Web: lewisroca.com

Contact: Michael J.Curry, Partner Specialty: Intellectual Property, Trademarks and Copyrights

PERKINS COIE 2901 N. Central Ave., Ste. 2000 Phoenix, AZ 85012-2788 602-351-8000 Fax 602-648-7000

Email: JEverettGarcia@perkinscoie.com Web: perkinscoie.com

Contact: Jessica L. Everett-Garcia, Partner Specialty: Trademark Law, Intellectual Property SANDERS & PARKS, PC 3030 N. 3rd St., Ste. 1300 Phoenix, AZ 85012 602-532-5600

Web: sandersparks.com

Specialty: Intellectual Property

SNELL & WILMER One Arizona Center 400 E. Van Buren St., Ste. 1900 Phoenix, AZ 85004-2202 602-382-6000 Fax 602-382-6070

Email: info@swlaw.com Web: swlaw.com

Specialty: Intellectual Property

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

WILLIAM D. BLACK, LAW OFFICES OF Great American Tower 20 East Thomas Road Ste. 2200 Phoenix, AZ 85012 480-680-8519, 844-224-0054

Web: billblacklawfirm.com

Additional location: Kierland Corporate Center 7047 E. Greenway Pkwy., Ste. 250 Scottsdale, AZ 85254 480-699-6888

ARKANSAS

CARVER LAW Pleasant Valley Corp. Center, Ste. 800 2024 Arkansas Valley Dr. Little Rock, AR 72212-4147 501-224-1500 Email: Sdc@arkpatent.com Web: arkpatent.com

Specialty: Intellectual Property

ROSE LAW FIRM 120 E. 4th St. Little Rock, AR 72201-2893 501-375-9131 Fax 501-375-1309

Email: info@roselawfirm.com Web: roselawfirm.com

Specialty: Intellectual Property WRIGHT, LINDSEY & JENNINGS, LLP 200 W. Capitol Ave., Ste. 2300 Little Rock, AR 72201 501-212-1383

Email: jdoughtery@wlj.com Web: wlj.com

Contact: J. Charles Dougherty

Specialty: Intellectual Property

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

CALIFORNIA

ABRAMS, GARFINKEL, MARGOLIS, BERGSON, LLP 3900 West Alameda Ave., Suite 2100 Burbank, CA 91505 310-300-2900

Email: info@agmblaw.com Web: agmblaw.com

Additional locations: 1430 Broadway, 17th Fl. New York, NY 10018 212-201-1170 225 Broadhollow Rd., Ste. 102 Melville, NY 11747 516-986-2745

AKIN, GUMP, STRAUSS, HAUER & FELD, LLP 1999 Avenue of the Stars, Ste. 600 Los Angeles, CA 90067 310-229-1000 Email: losangelesinfo@akingump.com Web: akingump.com

Additional locations: One Bryant Park Bank of America Tower New York, NY 10036 212-872-1000 Email: newyorkinfo@akingump.com 580 California St., Ste. 1500 San Francisco, CA 94104 415-765-9500

Email: sanfranciscoinfo@akingump.com 4 Park Plaza Suite 1900 Irvine, CA 92614-2585 949-885-4100

Contact: Paul Lin, Partner Email: pclin@akingump.com

ARNOLD & PORTER 777 S. Figueroa St., 44th Fl. Los Angeles, CA 90017 213-243-4000 Fax 213-243-4199 Web: arnoldporter.com

Specialty: all areas, intellectual property/tech.

*No unsolicited material

Additional locations: Three Embarcadero Center, 10th Fl. San Francisco, CA 94111 415-471-3100 Fax 415-471-3400

3000 El Camino Real Five Palo Alto Square, Ste. 500 Palo Alto, CA 94306-3807 650-319-4500

LEE JAY BERMAN

The Mediation Offices of Lee Jay Berman 4640 Admiralty Way Suite 500 Marina del Rey, 90292 310-593-9905

Email: info@leejayberman.com Web: LeeJayBerman.com

BEVERLY HILLS BAR ASSOCIATION 9420 Wilshire Blvd., 2nd Fl. Beverly Hills, CA 90212 310-601-2422

Email: info@bhba.org Web: bhba.org

BLAKE & WANG, P.A. 1801 Century Park E., 24st Fl. Los Angeles, CA 90067 Web: filmtvlaw.com

Specialty: Entertainment Law, Music Law, Film and TV Law

Additional location: 388 Market St., Ste. 1300 San Francisco, CA 94111 415-869-8832

BLOOM, HERGOTT, DIEMER, ROSENTHAL, LAVIOLETTE & FELDMAN SCHENKMAN & GOODMAN, LLP 150 S. Rodeo Dr., 3rd Fl. Beverly Hills, CA 90212 310-859-6800

*No unsolicited material

BRET D. LEWIS, LAW OFFICES OF Santa Monica Wellesley Plaza 12304 Santa Monica Blvd., Ste. 107A Los Angeles, CA 90025 310-207-0696 Fax 310-362-8424

Email: bdlawyager@gmail.com Web: blewislaw.com

CALIFORNIA LAWYERS FOR THE ARTS 12304 Santa Monica Blvd, Ste 304 Los Angeles, Ca 90025 888-775-8995, 310-207-0001 Email: losangeles@calawyersforhearts.org Web: calawyersforthearts.org

Specialty: Lawyer Referral Service, Mediation/Arbitration *Additional offices in Sacramento and San Francisco and San Diego

CHRISTOPHER J. OLSEN, LAW OFFICES OF 3075 E. Thousand Oaks Blvd., Ste. 100 Westlake Village, CA 91362 805-557-0660 Fax 805-491-8324

Email: chris@chrisolsenlaw.com Web: chrisolsenlaw.com

Practice Areas: Entertainment Law, Music Law, Contract Negotiation, Business and Transactional Matters, Civil Litigation. 30 years experience

Specialty: Studio and Performance Bass Player. I share musicians’ concerns because I am one.

D. BURGUNDY MORGAN, ESQ. ONE LLP 23 Corporate Plaza Drive Suite 150 Newport Beach, CA 92660 949-502-2870, 310-258-5081 Email: bmorgan@onelip.com Web: onellp.com

Contact: D. Burgundy Morgan, Esq. Specialty: Entertainment Law

Additional location: 400 Corporate Point Suite 300 Culver City, CA90230 310-866-5157

DEAN SHELDON SERWIN 1107 Fair Oaks Ave., #848 South Pasadena, CA 91030-3311 323-465-1735

Email: dean@deanserwin.com Web: deanserwin.com

Specialty: full-service for entertainment industry, including records, publishing, online, video game, film and television, management, licensing, trademark, music clearance. Selected “shopping”

DIJULIO LAW GROUP 330 N. Brand Blvd., Ste. 702 Glendale, CA 91203 818-502-1700

Email: rdd@dijuliolaw.com Web: dijuliolawgroup.com Specialty: Record contracts, music publishing, licenses

Additional location: 6 Woodard Ave. Absarokee, MT 59001

DONALDSON CALLIF PEREZ 9942 Culver Blvd, #352 Culver City, CA 90232 310-277-8394 Fax 310-277-4870

Email: Mdonaldson@dcp.law Web: donaldsoncallif.com/attorneys

*No unsolicited material

DONALD S. PASSMAN

Gang, Tyre, Ramer & Brown, Inc. 132 S. Rodeo Dr., Ste. 306 Beverly Hills, CA 90212-2414 310-777-4800

Email: don@donpassman.com Web: donpassman.com/about-donald-s-passman

*No unsolicited material

DYKMA 333 S. Grand Ave., Ste. 2100 Los Angeles, CA 90071 213-457-1800

Email: jhuron@dykema.com Web: dykema.com Contact: Jeffrey Huron, Office Managing Member

Specialty: Intellectual Property

ERIC NORWITZ

3333 W. 2nd St., Ste. 52-214 Los Angeles, CA 90004-6149 213-389-3477

Email: enorwitz@pacbell.net

Specialty: entertainment law and litigation *Unsolicited material accepted

ERIN M. JACOBSON

The Music Industry Lawyer 9107 Wilshire Blvd., Ste. 450 Beverly Hills, CA 90210 424-354-9364

Email: erinjacobsonesq@gmail.com Web: themusicindustrylawyer.com

FAEGRE DRINKER BIDDLE

1800 Century Park E., Ste. 1500 Los Angeles, CA 90067 310-203-4000, 310-229-1285 Web: faegredrinker.com/en

Additional location: Four Embarcadero Center, 27th Fl.

San Francisco, CA 94111 415-591-7500

FINDELLE LAW & MANAGEMENT 2029 Century Park E., Ste. 900 Los Angeles, CA 90067 310-552-1777 Fax 310-286-1990

Email: perfstanny@aol.com Contact: Stann Findelle, Esq.

Specialty: manager and recording agreements, production, actors, broadcasting and publishing *Call before sending material

TERRY B. BATES Reed Smith, LLP 355 South Grand Avenue, Suite 2900 Los Angeles, CA 90071 213-457-8012

Email: tbates@reedsmith.com Web: reedsmith.com

Specialty: entertainment media

GERRY BRYANT, ESQ. 9903 Santa Monica Blvd., Ste. 1007 Beverly Hills, CA 90212 Email: mail@gerrybryant.com Web: gerrybryant.com

*No unsolicited material or deal shopping.

GIBSON, DUNN 555 Mission Street Suite 3000 San Francisco, CA 94105 415-393-8216

Contact: Ryan, A. Murr Email: rmurr@gibsondunn.com Web: gibsondunn.com *No unsolicited material

LAW OFFICES OF GLENN T. LITWAK 201 Santa Monica Blvd., Ste. 300 Santa Monica, CA 90401 310-858-5574 Fax 310-207-4180

Email: glenn@glennlitwak.com Web: glennlitwak.com

GREENBERG, GLUSKER 2049 Century Park East Suite 2600 Los Angeles, CA 90067 310-553-3610, 310-201-7437

Email: info@greenbergglusker.com Web: greenbergglusker.com

Contact: Matt Galsor, Partner *No unsolicited material

SCOTT HARRINGTON, ESQ. Harrington Music Law Group, PC 2001 Wilshire Blvd., Ste. 400 Santa Monica, CA 90403 310-315-9222 Fax 310-315-9225 Email: sharrington@sdhmusiclaw.com HELMER, FRIEDMAN, LLP 9301 Wilshire Blvd., Ste. 609 Beverly Hills, CA 90210 310-396-7714

Email: info@helmerfriedman.com Web: helmerfriedman.com

Contact: Ken Helmer Specialty: all areas *No unsolicited material

KATTEN MUCHIN ROSENMAN, LLP 2029 Century Park East, Suite 2600 Los Angeles, CA 90067 310-788-4400. 310-788-4787

Email: Michael.hobel@Katten.com Web: kattenlaw.com Contact: Michael S. Hobel

IRELL & MANELLA, LLP 1800 Ave. of the Stars, Ste. 900 Los Angeles, CA 90067 310-277-1010 Fax 310-203-7199

Email: info@irell.com Web: irell.com

Additional location: 840 Newport Center Dr., Ste. 400 Newport Beach, CA 92660-6324 949-760-0991 Fax 949-760-5200

ISAACMAN, KAUFMAN & PAINTER, LOWY & ZUCKER 1100 Glendon Ave Los Angeles, CA 90024 310-881-6800

Web: ikplaw.com Email: info@ikplaw.com

*No unsolicited material

JACKOWAY, TYERMAN, WERTHEIMER, AUSTEN, MANDELBAUM, & MORRIS & KLEIN

1925 Century Park E., Ste. 2200 Los Angeles, CA 90067 310-553-0305

*No unsolicited material

JAY L. COOPER (Greenberg Traurig LLP) 1840 Century Park E., Ste. 1900 Los Angeles, CA 90067 310-586-7700

Email: cooper@gtlaw.com Web: gtlaw.com Specialty: entertainment law and copyright, 30 offices worldwide

JEFFREY L. GRAUBART, P.C. P.O. Box 130 Gualala, CA 95445

626-304-2800

Email: info@jlgraubart.com Web: entertainmentlaw.la

Specialty: copyrights and litigation *Unsolicited material accepted

JOHNSON & JOHNSON, LLP 439 N. Canon Dr., Ste. 200 Beverly Hills, CA 90210 310-975-1080 Email: njohnson@jjllplaw.com Web: jjllplaw.com

Contact: Neville L. Johnson

Specialty: litigation and contracts *No unsolicited material

JONATHAN STEIN, LAW OFFICES OF 5050 Laguna Blvd. Suite 112-325 Elk Grove, CA. 95758 916-247-6868

Web: jonathangstein.com/contact *No unsolicited material

KATTEN, MUCHIN, ROSENMAN, LLP 2029 Century Park E., Ste. 2600 Los Angeles, CA 90067 310-788-4400. 310-788-4627

Email: zia.modabber@kattenlaw.com Web: kattenlaw.com

Contact: Zia F. Modabber

Speciality: Intellectual Property, Entrepreneurial Ventures, Copyrights, Trademarks

Additional locations: 515 South Flower Street, Suite 1000 Los Angeles, CA 90071 213-443-9000

100 Spectrum Center Drive Suite 1050 Irvine, CA 92618 714-966-6819

KEATS GATIEN LLP 120 El Camino Drive, Ste. 207 Beverly Hills, CA 90212 424-302-0692 Email: tony@keatsgatien.com, IP@KeatsGatien.com Web: keatsgatien.com

Contact: Tony Keats, Conrad Gatien Specialty: Intellectual Property, Rights of Publicity, Litigation

KENOFF & MACHTINGER, LLP 312 S. Beverly Dr. #6344 Beverly Hills, CA 90212 310-552-0808 ext, 207 Email: jkenoff@entertainmentlawla.com Web: entertainmentlawla.com Specialty: contracts, litigation *No unsolicited material, no shopping

Additional location: 1801 Century Park E Los Angeles, CA 90067

KING, HOLMES, PATERNO & BERLINER, LLP 1900 Ave. of the Stars, 25th Fl. Los Angeles, CA 90067 310-282-8989 Web: khpblaw.com Specialty: Entertainment Music Law

KLEINBERG, LANGE, CUDDY, CARLO, LLP 1801 Century Park East 24th Floor Los Angeles, CA 90067 310-286-9696 Web: kleinberglange.com Specialty: contracts and publishing *No unsolicited material

KLINEDINST ATTORNEYS 777 S. Figueroa St., Ste. 2800 Los Angeles, CA 90017 213-406-1100 Web: klinedinstlaw.com Email: DAgle@KlinedinstLaw.com Contact: Daniel S. Agle

LAIRD & SOBEL, LLP 9255 Sunset Blvd., Ste. 800 Los Angeles, CA 90069 310-274-6184 Email: sobel@elsentlaw.com Web: elsentlaw.com Specialty: all areas except demo shopping *No unsolicited material

LAPOLT LAW, PC 9000 Sunset Blvd., Ste. 800 West Hollywood, CA 90069 310-858-0922 Email: inquiry@lapoltlaw.com Web: lapoltlaw.com Contact: Dina LaPolt Specialties: All areas relating to music, film, television, merchandising and book publishing.

LEE RUDNICKI, LAW OFFICES OF 9595 Wilshire Blvd., Ste. 900 Beverly Hills, CA 90212 310-300-8407 Email: drumlaw80@gmail.com Web: drumlaw80.com

Specialty: music, film and television

YU LESEBERG

A Professional Law Group 1645 Vine Street Penthouse 1002 Los Angeles, CA 9028 310-286-7667

Contact: Helen Yu, Esq

Web: yuleseberg.com

Specialty: Music, Film, Television, Copyright, High Level

Corporate Transactions

LEWIS, BRISBOIS, BISGAARD & SMITH, LLP 633 W. 5th St., Ste. 4000 Los Angeles, CA 90071 213-250-1800, 213-580-6312

Email: Jonathan.Pink@lewisbrisbois.com Web: lewisbrisbois.com

Contact: Jonathan Pink

Specialties: Entertainment Law *No unsolicited materials

LICHTER, GROSSMAN, NICHOLS, ADLER & FELDMAN 9200 Sunset Blvd., Ste. 1200 Los Angeles, CA 90069

Email: info@lgna.com Web: lgna.com 310-205-6999

*No unsolicited material

LOEB & LOEB, LLP 10100 Santa Monica Blvd., Ste. 2200 Los Angeles, CA 90067 310-282-2135

Contact: John T. Frankenheimer Email: jfrankenheimer@loeb.com Web: loeb.com

Specialty: All areas of music & entertainment

MANATT, PHELPS & PHILLIPS 2049 Century Park East, Suite 1700 Los Angeles, CA 90067 310-312-4000 Web: manatt.com Specialty: all areas *No unsolicited material

Additional locations: 695 Town Center Dr., 14th Fl. Costa Mesa, CA 92626 714-371-2500

One Embarcadero Center, 30th Fl. San Francisco, CA 94111 415-291-7400

1215 K St., Ste. 1900 Sacramento, CA 95814 916-552-2300

203 Redwood Shores Parkway Suite 450 Redwood City, CA 94065 650-812-1300

MATTHEW JAY WARREN, ESQ. Law Offices of Clinton & Clinton 100 Oceangate Blvd., Ste. 1400 Long Beach, CA 90802 562-216-5000 Web: The-Music-Lawyer.com Email: MJW@ClintonLaw.com *No unsolicited material

McLANE & WONG 11135 Weddington St., Ste. 424 North Hollywood, CA 91601 818-587-6801 Fax 818-587-6802

Email: bcmclane@aol.com Web: benmclane.com

Specialty: contracts, negotiation *Unsolicited material accepted McPHERSON & ASSOCIATES Los Angeles, CA 310-553-8833

Email: firm@mcphersonrane.com Web: mcphersonrane.com *No unsolicited material

MICHAEL MACHAT 8730 W. Sunset Blvd, Suite 250 West Hollywood, CA 90069 310-860-1833

Email: michael@machatlaw.com Web: machatlaw.com Specialty: all areas

MICHAEL R. MORRIS Valensi Rose PLC 1888 Century Park E., Ste. 1100 Los Angeles, CA 90067 310-277-8011 Email: mrm@vrmlaw.com Web: vrmlaw.com

Specialty: Full-service music law, including recording, producer, production company and soundtrack agreements, master use and synchronization licenses; artist and label representation; entertainment tax law *Unsolicited materials on a very selective basis

MORGAN LEWIS & BOCKIUS, LLP 300 South Grand Ave., 22nd Fl. Los Angeles, CA 90071 213-612-7208

Contact: Barbara Fitzgerald Email: barbara.fitzgerald@morganlewis.com Web: morganlewis.com

Additional Locations: 2049 Century Park East, Ste. 700 Los Angeles, CA 90067 310-255-9111

Contact: Seth Gerber Email: seth.gerber@morganlewis.com 600 Anton Blvd, Ste. 1800 Costa Mesa, CA 92626 949-399-7199

Contact: James Collie Email: collie.james@morganlewis.com 1400 Page Mill Palo Alto, CA 94304 650-843-7519

Contact: Dion Bregman Email: dion.bregman@morganlewis.com

One Market Spear Street Tower San Francisco, CA 94105 415-442-1432

Contact: Brian Rocca Email: brian.rocca@morganlewis.com

MORRIS MUSIC LAW 475 Washington Blvd. Marina del Rey, CA 90292 310-439-3737

Email: Jesse@morrismusiclaw.com Web: morrismusiclaw.com

Contact: Jesse E. Morris, Attorney at Law Specialty: Contract drafting, advising, negotiations, copyright law, publishing and recording agreements

MUSIC ATTORNEY, LEGAL & BUSINESS AFFAIRS REGISTRY 5420 Bevis Ave. Sherman Oaks, CA 91411 818-570-3374

Email: info@musicregistry.com Web: musicregistry.com Contact: Ritch Esra

MYMAN GREENSPAN FOX ROSENBERG MOBASSER YOUNGER & LIGHT LLP 11601 Wilshire Blvd., Ste. 2200 Los Angeles, CA 90025 310-231-0800

Web: mymangreenspan.com Specialty: all areas *No unsolicited material

NEAL TABACHNICK, ESQ. Wolf, Rifkin, Shapiro, Schulman & Rabkin, LLP 11400 W. Olympic Blvd., 9th Fl. Los Angeles, CA 90064-1557 310-478-4100

Email: ntabachnick@wrslawyers.com Web: wrslawyers.com/neal-tabachnick *Does not shop material

NED MENOYO EEM Law, PC 15915 Ventura Blvd. PH One Encino, CA 91436 877-288-9633

Email: info@eemlawpc.com Web: eem-law.com

NOLAN HEIMANN 16000 Ventura Blvd, Ste. 1200 Encino, CA 91436 818-574-5710

Email: info@nolanheimann.com Web: nolanheimann.com Specialty: Music and Entertainment Law

O’MELVENY & MYERS 400 S. Hope St. Los Angeles, CA 90071-2899 213-430-6000

Web: omm.com *No unsolicited material

Additional locations: 610 Newport Center Drive 17th Floor Newport Beach, CA 92660 949-823-6900

1999 Avenue of the Stars 8th Fl. Los Angeles, CA 90067 310-553-6700

610 Newport Center Dr. 17th Floor Newport Beach, CA 92660 949-823-6900

2 Embarcadero Center 28th Floor San Francisco, CA 94111 415-984-8700

PERKINS COIE 1888 Century Park E., Ste. 1700 Los Angeles, CA 90067-1721 310-788-3224

Contact: Jon G. Daryanani, Partner Email: JDaryanani@perkinscoie.com Web: perkinscoie.com Specialty: Trademark Law, Intellectual Property

Additional locations: 633 W. 5th Street, Suite 5850 Los Angeles, CA 90071 310-788-9900

505 Howard St., Ste. 1000 San Francisco, CA 94105 415-344-7168

Email: BSchussman@perkinscoie.com Contact: Barbara J. Schussman 3150 Porter Dr. Palo Alto, CA 94304 650-838-4317

Email: LNess@perkinscoie.com Contact: Lowell D. Ness 11452 El Camino Real Suite 300 San Diego, CA 92130 858-720-5700

PIERCE LAW GROUP, LLP 228 S. Le Doux Rd. Beverly Hills, CA 90211 310-274-9191 800- 875-0756, Fax 310-274-9151 Web: piercelawgroupllp.com

Contact: David Albert Pierce

Specialty: contracts

*No unsolicited material accepted, no shopping.

PILLSBURY WINTHROP SHAW PITTMAN, LLP

Four Embarcadero Center, 22nd Fl. San Francisco, CA 94111 415-983-1000, 415-983-1976

Email: roxane.polidora@pillsburylaw.com Web: pillsburylaw.com

Contact: Roxanne, A. Polidora

Specialty: All areas, including intellectual property and technology

*No unsolicited material

Additional Locations: 725 South Figueroa Street Suite 2800 Los Angeles, CA 90017 213-488-7100

500 Capitol Mall Suite 1800 Sacramento, CA 95814 916-329-4700

501 West Broadway Suite 1100 San Diego, CA 92101 619-234-5000

North San Diego County 11710 El Camino Real, Suite 150 San Diego, CA 92130 858-509-4000

Silicon Valley 2550 Hanover St Palo Alto, CA 94304 650-233-4500

PROSKAUER, ROSE, LLP 2029 Century Park E. Los Angeles, CA 90067 310-284-4525

Email: scrawshaw@proskauer.com Web: proskauer.com Contact: Sandra A. Crawshaw-Sparks Specialty: practice limited to litigation of commercial and entertainment related disputes

*No unsolicited material

PRYOR CASHMAN, LLP 1801 Century Park East Los Angeles, CA 90067 310-683-6900 Fax 310-943-3397

Email: jsammataro@pryorcashman.com Web: pryorcashman.com

Contact: James G. Sammataro Specialty: Entertainment Law, Music Law, Intellectual Property, Litigation

RACHEL STILWELL Law Offices of Rachel Stilwell 26565 West Agoura Rd., Ste. #200 Calabasas, CA 91302 818-330-6819

Email: rachel@rmslawoffices.com Web: rmslawoffices.com

RANDAL NEAL COHEN 12100 Wilshire Blvd., Ste. 1250 Los Angeles, CA 90025 310-826-8082, 800-718-4658

Email: Randall@Music-Attorney.com Web: music-attorney.com Specialty: all areas except demo shopping.

*Unsolicited material accepted

REBEL ROY STEINER, JR. Loeb & Loeb LLP 10100 Santa Monica Blvd., Ste. 2200 Los Angeles, CA 90067 310-282-2051

Contact: Rebel Roy Steiner. jr Email: rsteiner@loeb.com Web: loeb.com/en Specialty: Entertainment Law

REED SMITH, LLP 1901 Ave. of the Stars, Ste. 700 Los Angeles, CA 90067 310-734-5287 Email: fmok@reedsmith.com Web: reedsmith.com Contact: Francisca M. Mok, Partner

Additional location: 355 S. Grand Ave., Ste. 2900 Los Angeles, CA 90071 213-457-8038

Contact: Lorenzo E. Gasparetti Email: lgasparetti@reedsmith.com

RICHARD JOSEPH, LAW OFFICES OF 8383 Wilshire Blvd., Ste. 341 Beverly Hills, CA 90211 310-782-1776

Email: rjoseph@rjml.net Web: rnjlawgroup.com

Specialty: All areas of music law.

*No unsolicited material

ROSENFELD, MEYER & SUSMAN 232 N. Canon Dr., 2nd Fl. Beverly Hills, CA 90210 310-858-7700, Fax 310-860-2430 Email: info@rmslaw.com Web: rmslaw.com

*No unsolicited material

SALLY KOENIG Koenig Law Offices Los Angeles, CA 310-984-1225

Email: koeniglaw@mac.com Web: koeniglawla.com Specialty: Artist and label representation in all areas. Draft and negotiate agreements.

*Unsolicited material accepted, email for permission

SINDEE LEVIN, ESQ. 556 S. Fair Oaks Ave. #332 Pasadena, CA 91105 310-440-8778

Email: info@entertainmentstatelawyer.com Web: entertainmentestatelawyer.com Specialty: Music and Entertainment Law

*No Unsolicited materials accepted

SNELL & WILMER

Two California Plaza 350 S. Grand Ave., Ste. 2600 Los Angeles, CA 90071 213-929-2500 Fax 213-929-2525

Email: info@swlaw.com Web: swlaw.com

Specialty: Intellectual Property

Additional location: Plaza Tower 600 Anton Blvd., Ste. 1400 Costa Mesa, CA 92626-7689 714-427-7000 Fax 714-427-7799

STEPHEN E. SESSA, ESQ. Reed Smith, LLP 1901 Ave. of the Stars, Ste. 700 Los Angeles, CA 90067 310-734-5426 Email: ssessa@reedsmith.com Web: reedsmith.com

Contact: Stephen E. Sessa

STEVEN R. LOWY ISAACMAN, KAUFMAN & PAINTER, LOWY & ZUCKER 1100 Glendon Ave. Suite 1500

Directory of Music Attorneys

310-881-6800

Email: info@ikplaw.com Web: ikplaw.com

TYLER & WILSON, LLP 5455 Wilshire Blvd., Ste. 1925 Los Angeles, CA 90036 323-655-7180 Email: inquiries@tyler-law.com Web: tyler-law.com Contact: Christine J. Wilson

Specialty: Music and Business Law

VICTOROFF & ASSOCIATES 11911 San Vicente Blvd. Los Angeles, CA 90049 310-207-8999 Email: greg@rohde-victoroff.com Web: victoroff-law.com Contact: Greg Victoroff

Specialty: all areas

*Unsolicited material accepted

WESTON, GARROU, MOONEY 12121 Wilshire Blvd., Ste. 525 Los Angeles, CA 90025 310-442-0072 Web: wgdlaw.com Contact: Jerome H. Mooney Specialty: Music Law, Entertainment Law

MARCUS WIGGINS, ESQ 900 Fulton Avenue, Suite 132 Sacramento CA 95825 (916) 834-8000

Email: info@wigginsmse.com Web: wigginsmse.com

Specialties:  Music Law, Sports Law, Entertainment Law, Intellectual Property, Licensing, Copyrights, Clearances “I’m here to help”

YORN, LEVINE, BARNES, KRINTZMAN, RUBENSTEIN, KOHNER, ENDLICH & GELLMAN 1999 Avenue of the Stars, 4th Floor Los Angeles, CA 90067 Web: morrisyorn.com 310-319-3900

ZIFFREN, BRITTENHAM, LLP 1801 Century Park W. Los Angeles, CA 90067 310-552-3388 Fax 310-553-7068 Email: info@ziffrenlaw.com Web: ziffrenlaw.com

Specialty: all areas *No unsolicited material

COLORADO

CLINE, WILLIAMS, WRIGHT, JOHNSON & OLDFATHER, LLP 215 Mathews St., Ste. 300 Fort Collins, CO 80524 970-221-2637

Web: clinewilliams.com

Specialty: Intellectual Property and Technology Law

HOLLAND & HART 555 17th St., Ste. 3200 Denver, CO 80202-3979 303-295-8000, 303-295-8187

Email: mabell@hollandhart.com Web: hollandhart.com

Contact: Matthew Abell

Specialty: Intellectual Property

Additional locations: 600 East Main Street Suite 104 Aspen, CO 81611 970-925-3476

1800 Broadway Suite 300 Boulder, CO 80302 303-473-2700

LEYENDECKER & LEMIRE, LLC 5460 S Quebec St., Ste. 330 Greenwood, CO 80111 303-768-0123

Email: info@coloradoiplaw.com Web: coloradoiplaw.com

Specialty: Copyright Law, Trademark Law, Intellectual Property

PERKINS COIE 1900 16th St., Ste. 1400 Denver, CO 80202-5255 303-291-2314 Fax 303-291-2400

Email: SAllison@perkinscoie.com

Web: perkinscoie.com

Contact: Garland (Sonny) W. Allison

Specialty: Trademark Law, Intellectual Property

SNELL & WILMER 1200 17th St., Ste. 1900 Denver, CO 80202-5854 303-634-2000 Fax 303-634-2020

Email: info@swlaw.com

Web: swlaw.com

Specialty: Intellectual Property

CONNECTICUT

CACACE TUSCH & SANTAGATA

1111 Summer St. Stamford, CT 06905

203-327-2000

Web: lawcts.com

Specialty: Intellectual Property

OHLANDT GREELEY RUGGIERO & PERLE, LLP One Landmark Sq., 10th Fl. Stamford, CT 06901-2682 203-327-4500

Email: info@ogrp.com

Web: ogrp.com

Specialty: Intellectual Property

ST. ONGE STEWARD JOHNSTON & REENS, LLC 986 Bedford St. Stamford, CT 06905 203-324-6155 Fax 203-327-1096

Email: info@ssjr.com Web: ssjr.com

Specialty: Intellectual Property

D.C., WASHINGTON

ADAMS AND REESE, LLP 20 F St., N.W., Ste. 500 Washington, DC 20001 202-737-3234

Web: adamsandreese.com

Specialty: Entertainment Law, Music Law, Intellectual Property

BERLINER, CORCORAN & ROWE 1101 17th St. N.W., Ste. 1100 Washington, DC 20036 202-293-5555

Email: bcr@bcr.us Web: bcr.us Specialty: Entertainment Law, Copyright Law and Internet Law

EDSEL M. BROWN, JR. ESQ Law office of Edsel M. Brown, Jr. PLLC 1629 K Street, NW – Suite 300 Washington, D.C. 20006 202-329-1520

Email: emb@edselmbrownjrlaw.com Web: edselmbrownjrlaw.com

MANATT, PHELPS & PHILLIPS 1050 Connecticut Ave., N.W., Ste. 600 Washington, DC 20036 202-585-6500

Web: manatt.com Specialty: all areas

PROSKAUER, ROSE, LLP 1001 Pennsylvania Ave., N.W., Ste. 400 S. Washington, DC 20004-2533 202-416-6800, 202-416-5850 Email: phamburger@proskauer.com Web: proskauer.com

Contact: Paul M. Hamburger, Partner Specialty: practice limited to litigation of commercial and entertainment related disputes *No unsolicited material

STEPTOE & JOHNSON 1330 Connecticut Ave., N.W. Washington, DC 20036 202-429-6749, 202-429-3000 Email: mallan@steptoe.com Web: steptoe.com

Contact: Michael J. Allan Specialty: Contracts and Intellectual Property VENABLE, LLP 600 Massachusetts Ave, NW Washington, DC 200041 202-344-4000 Fax 202-344-8300

Web: venable.com

Specialty: Intellectual Property DELAWARE

FISH & RICHARDSON, PC 222 Delaware Ave., 17th Fl. P.O. Box 1114 Wilmington, DE 19899-1114 302-652-5070 Web: fr.com Specialty: Intellectual Property FLORIDA

ALLEN L. JACOBI 11077 Biscayne Blvd., Ste. 200 Miami, FL 33161 305-893-2007 Web: pyramidrecords.net Specialty: All entertainment-related services

GRIMES LLC 8890 Terrene Court Unit 102 Bonita Springs, FL 34145 239-330-9000 Web: gandb.com Specialty: Entertainment, branding, trademarks, copyrights, licensing, and litigation

PROSKAUER, ROSE, LLP 2255 Glades Rd., Ste. 421 Atrium Boca Raton, FL 33431-7360 561-241-7400, 561-995-4777

Email: dpratt@proskauer.com Web: proskauer.com

Contact: David Pratt Specialty: practice limited to litigation of commercial and entertainment related disputes *No unsolicited material

PRYOR CASHMAN, LLP 255 Alhambra Circle 8th Floor Miami, FL 33134 786-582-3003 Fax 786-582-3004

Email: jsammataro@pryorcashman.com Web: pryorcashman.com

Contact: James G. Sammataro

Specialty: Entertainment Law, Music Law, Intellectual Property, Litigation

TALENTED TENTH CONSULTING & LEGAL SERVICES, PLLC

1415 W. Cypress Creek Road Suite 300 Fort Lauderdale, FL 33309 754-800-5291 Fax 754-999-2140

Email: adumas@talentedtenthlaw.com Web: talentedtenthlaw.com

Contact: Antoine Dumas, Esq.

Specialty: Contract drafting, dispute and negotiation, trademarks, copyright, publishing, licensing, business consulting, touring, recording, royalties calculations, Film and TV law, full-service litigation.

GEORGIA

ALAN S. CLARKE, LAW OFFICES OF 130 Peachtree Street NE Suite 1900 Atlanta, GA 30303 404-816-9800 Fax 404-816-0555

Email: alan.clarke@gmlaw.com Web: gmlaw.com/attorneys/alan-s-clarke

Contact: Alan Clarke

Specialty: Intellectual Property

FREED HOWARD, LLC 101 Marietta St. Ste. 3600 Atlanta, GA 30303 470-839-9300

Email: info@freedgrant.com Web: freedgrant.com

Specialty: Entertainment Law, Music Law, Film/TV Law, Copyrights

HOLLAND & KNIGHT 1180 W. Peachtree St., Ste. 1800 Atlanta, GA 30309 404-817-8500, 404-817-8585

Email: allen.maines@hklaw.com Web: hklaw.com

Contact: J. Allen “Allen” Maines Specialty: Entertainment Law, Contract Law

MINTER & ASSOCIATES 5398 E. Mountain St. Stone Mountain, GA 30083 770-879-7400 Fax 770-879-5695

Email: kamlaw@aol.com Web: kendallminteresq.com

Contact: Kendall Minter Specialty: Entertainment Law, Intellectual Property

BAKER HOSTETLER 1170 Peachtree St., N.E., Ste. 2400 Atlanta, GA 30309-7676 404-459-0050

Email: jjones@bakerlaw.com Web: bakerlaw.com

Contact: Joann Gallagher Jones Specialty: Intellectual Property

YEMANE CLARKE, ATTORNEY 5863 Redan Rd. Stone Mountain, GA 30088 770-450-8003

Web: clarkelegal.com Contact: Yemane Clarke

Specialty: Intellectual Property IDAHO

HAWLEY, TROXELL, ENNIS & HAWLEY, LLP 877 Main St., Ste. 1000 Boise, ID 83702 208-344-6000

Email: info@hawleytroxell.com Web: hawleytroxell.com Specialty: Intellectual Property

Additional locations: P.O. Box 3804 Coeur d’Alene, ID 83816 208-667-1300

333 S. Main Street, Suite 200 Pocatello, ID 83204 208-233-2001

2010 Jennie Lee Dr. Idaho Falls, ID 83404 208-529-3005

PEDERSEN AND COMPANY, PLLC 1410 N. 28th St. Boise, ID 83703 208-343-6355

Email: ip@pedersenco.com Web: patentattorneyidaho.com

Contact: Ken J. Pedersen or Barbara S. Pedersen Specialty: Intellectual Property

PERKINS COIE 1111 W. Jefferson St., Ste. 500 Boise, ID 83702-5391 208-343-3434 Fax 208-343-3232

Email: RMaynard@perkinscoie.com Web: perkinscoie.com

Contact: Robert A. Maynard Specialty: Trademark Law, Intellectual Property PARSONS, BEHLE & LATIMER 800 W. Main St., #1300 Boise, ID 83706 208-562-4900 Fax 208-562-4901

Email: rjohnson@personsbehle.com Web: parsonsbehle.com

Contact: Rexford A. Johnson Specialty: Intellectual Property Litigation, Patents, Trademarks and Copyrights

ILLINOIS

BRIAN A. ROSENBLATT, ATTORNEY AT LAW BRYCE DOWNEY & LENKOV LLC 30 N. Lasalle St., Ste. 2700 312-377-1501, 312-327-0056 Chicago, IL 60601

Email: brosenblatt@bdlfirm.com Web: bdlfirm.com Specialty: Entertainment Law, Intellectual Property, Litigation

JAY B. ROSS & ASSOCIATES, PC 842 W. Grand Ave. Chicago, IL 60642-6565 312-633-9000

Email: music_law@msn.com Web: jaybross.com

Contact: Jay B. Ross Specialty: Entertainment Law

HUSCH BLACKWELL 120 S. Riverside Plaza, Ste. 2200 Chicago, IL 60606 312-655-1500, 312-526-1643

Email: daan.erikson@huschblackwell.com Web: huschblackwell.com

Contact: Daan G. Erikson

Specialty: Entertainment and Media, Intellectual Property

KATTEN, MUCHIN & ROSENMAN 525 W. Monroe St. Chicago, IL 60661 312-902-5200, 312-902-5296

Email: Kristin.achterhof@kattenlaw.com Web: kattenlaw.com

Contact: Kristin J. Achterhof

Specialty: Trademark, Copyright, Entertainment Litigation

LOEB & LOEB, LLP 321 N. Clark, Ste. 2300 Chicago, IL 60654

312-464-3144

Contact: Douglas N. Masters Email: dmasters@loeb.com Web: loeb.com Specialty: all areas

MANDELL MENKES, LLC 333 W. Wacker Drive Suite 450 Chicago, IL 60606 312-251-1000, 312-251-1016

Email: pstrand@mandellmenkes.com Web: mandellmenkes.com

Contact: Peter Strand Specialty: Media, Entertainment and First Amendment Intellectual Property

PERKINS COIE 110 North Wacker Drive 34th Floor Chicago, IL 60606 312-324-8400

Email: CWilson@perkinscoie.com Web: perkinscoie.com

Contact: Christopher (Chris) B. Wilson Specialty: Trademark Law, Intellectual Property

SMITH AMUNDSEN, LLC 150 N. Michigan Ave., Ste. 3300 Chicago, IL 60601 312-894-3200

Email: lschechtman@salawus.com Web: salawus.com

Contact: Larry A. Schechtman, Partner, Brian Rosenblatt Specialty: Ent., Media, Privacy, and Intellectual Property

INDIANA

BARNES & THORNBURG, LLP 11 S. Meridian St. Indianapolis, IN 46204-3535 317-231-7313

Email: shawn.bauer@btlaw.com Web: btlaw.com Contact: Shawn D. Bauer Specialty: Intellectual Property

LEWIS & KAPPES, PC One American Sq., Ste. 2500 Indianapolis, IN 46282-0003 317-639-1210

Email: trichardson@lewis-kappes.com Web: lewis-kappes.com Contact: Todd Richardson Specialty: Intellectual Property

IOWA

MCKEE, VOORHEES & SEASE, PLC 801 Grand Ave., Ste. 3200 Des Moines, IA 50309-2721 515-288-3667 Ext. 5961 Web: ipmvs.com

Contact: Brandon W. Clark Specialty: Entertainment Law, Trademarks, Copyrights ZARLEY LAW FIRM, PLC Capital Sq. 400 Locust St., Ste. 200 Des Moines, IA 50309-2350 515-558-0200 Email: info@zarleylaw.com Web: zarleylaw.com Specialty: Intellectual Property

KANSAS

FLEESON, GOOING ATTORNEYS AT LAW 1900 Epic Center 301 N. Main St. Wichita, KS 67202 316-267-7361

Email: kmeyerhoff@fleeson.com Web: fleeson.com Contact: Kent A. Meyerhoff Specialty: Intellectual Property

FOULSTON SIEFKIN, LLP 1551 N. Waterfront Pkwy., Ste. 100 Wichita, KS 67206-4466 316-267-6371

Email: bmatthews@foulston.com Web: foulston.com Contact: William (Bill) P. Matthews, Partner Specialty: Intellectual Property

Additional locations: 822 S. Kansas Ave., Ste. 200 Topeka, KS 66612 785-233-3600 Fax 785-233-1610

7500 College Boulevard, Sute 1400 Overland Park, KS 66210 913-498-2100 Fax 913-498-2101

KENTUCKY

LYNCH, COX, GILMAN & GOODMAN

500 W. Jefferson St., Ste. 2100 Louisville, KY 40202 502-589-4215

Email: atty@lcgandm.com Web: lynchcoxlaw.com

Specialty: Intellectual Property

MIDDLETON REUTLINGER 401 S. 4th St., Ste. 2600 Louisville, KY 40202 502-584-1135, 502-625-2753

Email: abrackett@middletonlaw Web: middreut.com

Contact: Alexander P. Brackett

Specialty: Intellectual Property

LOUISIANA

ADAMS AND REESE, LLP One Shell Sq. 701 Poydras St., Ste. 4500 New Orleans, LA 70139 504-585-0197

Email: paige.sensenbrenner@arlaw.com Web: adamsandreese.com

Contact: E. Paige Sensenbrenner Specialty: Entertainment Law, Music Law, Intellectual Property

Additional location:

450 Laurel St., Ste. 1900 Baton Rouge, LA 70801 225-378-3244

Email: willliam.shea@arlaw.com

Contact: William D. Shea

MAINE

EATON PEABODY, PA 80 Exchange St. Bangor, ME 04401 207-947-0111 Fax 207-942-3040

Web: eatonpeabody.com

Specialty: Intellectual Property

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

167 Park Row P.O. Box 9 Brunswick, ME 04011 207-729-1144 Fax 207-729-1140

204 Main St. Ellsworth, ME 04605 207-664-2900

100 Middle St. P.O. Box 15235 Portland, ME 04112 207-274-5266

RUDMAN & WINCHELL, LLC 84 Harlow St. P.O. Box 1401 Bangor, ME 04402-1401 207-947-4501, 207-992-2412

Email: apellegrini@rudmanwinchell.com Web: rudmanwinchell.com

Contact: Anthony D. Pellegrini

Specialty: Intellectual Property & Copyright Law

MARYLAND

LARRY J. GUFFEY

502 Washington Ave., Ste. 605 Towson, MD 21204 410-659-9550 Email: larry@GuffeyLaw.com Web: guffeylaw.com/index.htm

Specialty: Intellectual Property, Trademark and Patents

Additional location: 94 Narod Blvd. Water Mill, NY 11976 631-237-4891

VENABLE LLP 750 East Pratt Street Suite 900 Baltimore, MD 21202 410-244-7400, 410-244-7859

Contact: Ashleigh J. F. Lynn Email: ajlynn@Venable.com Web: venable.com

MARYLAND VOLUNTEER LAWYERS SERVICE 201 N. Charles St., Ste. 1400 Baltimore, MD 21201 410-539-6800, 800-510-0050 Email: info@mvlslaw.org Web: mvlslaw.org

VENABLE, LLP 750 E. Pratt St., Ste. 900 Baltimore, MD 21202 410-244-7400 Fax 410-244-7742

Web: venable.com

Specialty: Intellectual Property

Additional location: 210 West Pennsylvania Ave, Ste. 500 Towson, MD 21204 410-494-6200

MASSACHUSETTS

BURNS & LEVINSON, LLP 125 Summer St. Boston, MA 02110 617-345-3000 Fax 617-345-3299 Web: burnslev.com

Specialty: Music Law, Litigation

Additional locations: 600 Cordwainer Drive Suite 201 Norwell, MA. 02061 617-345-3000 69 Park St. Andover, MA 018110 978-474-4700 20 William St., Suite 135 Wellesley, MA 02481 617-345-3000

CESARI & MCKENNA, LLP One Liberty Square, Suite 310 Boston, MA 022109 617-951-2500

Web: c-m.com

Specialty: Intellectual Property

PATTI JONES ATTORNEY AT LAW 20 Park Plaza Boston, MA 02116 617-948-2193

Email: patti@pattijones.com Web: pattijones.com

Contact: Patti Jones

Specialty: music, literary publishing, media and independent film

PROSKAUER, ROSE, LLP

One International Pl., 14th Fl. Boston, MA 02110-2600 617-526-9600, 617-526-9851

Email: janderson@proskauer.com Web: proskauer.com

Contact: James Anderson Specialty: practice limited to litigation of commercial and entertainment related disputes

*No unsolicited material

WOLF, GREENFIELD & SACKS, PC 600 Atlantic Ave. Boston, MA 02210-2206 617-646-8000 Fax 617-646-8646 Web: wolfgreenfield.com

Specialty: Trademark, Copyright MICHIGAN

FOLEY & LARDER, LLP One Detroit Center 500 Woodward Ave., Ste. 2700 Detroit, MI 48226-3489 313-234-7100 Fax 313-234-2800

Web: foley.com Specialty: Intellectual Property HERTZ SCHRAM 1760 S. Telegraph Rd., Ste. 300 Bloomfield Hills, MI 48302 248-609-3146, 866-775-5987 Web: hertzschram.com

Contact: Howard Hertz

Specialty: Entertainment Law, Contracts, Litigation

Additional location: Chrysler House 719 Griswold St., Ste. 820-128 Detroit, MI 48226 313-960-8237, 866-775-5987

HONIGMAN MILLER SCHWARTZ & COHN, LLP 315 E. Eisenhower Pkwy., Ste. 100 Ann Arbor, MI 48108 734-418-4264

Email: falberdi@honigman.com Web: honigman.com Contact: Fernando Alberdi, Partner Specialty: Intellectual Property Litigation

Additional locations: 350 E. Michigan Ave., Ste. 300 Kalamazoo, MI 49007 269-337-7704 Fax 269-337-7705

Email: jobrien@honigman.com Contact: Jonathan P. O’Brien, Ph.D., Partner

2290 First National Building 660 Woodward Ave. Detroit, MI 48226 313-465-7000

39400 Woodward Ave., Suite 101 Bloomfield Hills, MI 48304 248-566-8300

650 Trade Centre Way, Suite 200 Kalamazoo, MI 49002 269-337-7700

300 Ottawa Ave., NW, Suite 400 Grand Rapids, MI 49503 616-649-1900

222 N. Washington Sq, Suite 400 Lansing, MI 48933 517-484-8282

JAFFE, RAITT, HEUER & WEISS 28 W. Adams Ave., Ste. 1500 Detroit, MI 48226 313-800-6500

Web: jaffelaw.com Specialty: Intellectual Property

Additional location: 27777 Franklin Rd., Ste. 2500 Southfield, MI 48034 248-351-3000

JOE M. JOSEPH

Creative Works Legal Services P.O. Box 2136 Birmingham, MI 48012 248-705-1067, 629-895-1762 (Nashville office) Email: jjoseph@creativeworkslegal.com Web: creativeworkslegal.com

Specialty: Artist, Label, Management, Publishing representation in all areas of music law and related services *unsolicited materials accepted: please email first to confirm acceptance

REISING, ETHINGTON, PC 755 W. Big Beaver Rd., Ste. 1850 Troy, MI 48084 248-689-3500 Fax 248-689-4071

Web: reising.com Specialty: Intellectual Property Law

MINNESOTA

DORSEY & WHITNEY, LLP 50 S. 6th St., Ste. 1500 Minneapolis, MN 55402-1498 612-340-5681 Fax 952-516-5585

Email: rosenbaum.robert@dorsey.com Web: dorsey.com

Contact: Robert A. Rosenbaum

Specialty: Intellectual Property

KENNETH ABDO, PARTNER

Entertainment Law and More Fox Rothschild LLP Campbell Mithun Tower – Suite 2000 222 South Ninth St. Minneapolis, MN 55402-3338 612-607-7063 – Direct Email: kabdo@foxrothschild.com Web: foxrothschild.com

LOMMEN ABDO 1000 International Centre 920 2nd Ave. S. Minneapolis, MN 55402 800-752-4297, 612-339-8131 Fax 612-339-8064 Web: lommen.com

Specialty: Music Law, Entertainment Law

PATTERSON THUENTE, IP 4800 IDS Center 80 S. 8th St.

Minneapolis, MN 55402-2100 612-361-0309, 612-349-3010

Email: biasco@ptslaw.com Web: ptslaw.com Contact: Tye Biasco Specialty: Entertainment Law

MISSISSIPPI

BRUNINI, GRANTHAM, GROWER & HEWES, PLLC

The Pinnacle Building, Ste. 100 190 E. Capitol St. Jackson, MS 39201 601-948-3101, 601-960-6890 Email: scarmody@brunini.com Web: Brunini.com Contact: Stephen J. Carmody Specialty: Intellectual Property, Litigation, Media and Advertising

MISSOURI

SPENCER, FANE, BRITT & BROWNE 1000 Walnut St., Ste. 1400 Kansas City, MO 64106 816-292-8150, 816-474-8100 Email: kelliott@spencerfane.com Web: spencerfane.com

Contact: Kyle L. Elliott Specialty: Entertainment Law, Intellectual Property

MONTANA

ANTOINETTE M. TEASE, PLLC

175 N. 27th St., Ste. 1206 Billings, MT 59101 406-294-9000, 406-591-3689 Email: toni@teaselaw.com Web: teaselaw.com

Contact: Antoinette M. Tease Specialty: Intellectual Property and Technology Law

CROWLEY, FLECK, LLP 490 N. 31st St., Ste. 500 Billings, MT 59101 406-252-3441

Email: rgriffin@crowleyfleck.com Web: crowleyfleck.com Contact: Bob Griffin

DORSEY & WHITNEY, LLP 125 Bank St., Ste. 600 Missoula, MT 59802-4407 406-721-6025

Email: bell.steve@dorsey.com Web: dorsey.com Contact: Steve D. Bell Specialty: Intellectual Property WORDEN THANE, PC 321 W Broadway Suite 300 Missoula MT 59802 866-758-3444, 406-721-3400 Web: wordenthane.com Specialty: Copyright, Trademarks NEBRASKA

ABRAHAMS, KASLOW & CASSMAN, LLP 8712 W. Dodge Rd., Ste. 300 Omaha, NE 68114 402-392-1250 Fax 402-392-0816 Web: akclaw.com Specialty: Intellectual Property

CLINE, WILLIAMS, WRIGHT, JOHNSON & OLDFATHER, LLP 12910 Pierce St., Ste. 200 Omaha, NE 68144 402-474-6900, 402-397-1700

Email: jmiles@clinewilliams.com Web: clinewilliams.com

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

Additional locations: 233 S. 13th St., Ste. 1900 Lincoln, NE 68508 402-474-6900

1207 “M” Street PO Box 510 Aurora, NE 68818 402-694-6314

HOUGHTON BRADFORD WHITTED PC, LLO 6457 Frances Street, Suite 100 Omaha, NE 68106 402-344-4000, 402-930-1009 Web: houghtonbradford.com

Contact: David A. Houghton Specialty: Intellectual Property

KUTAK ROCK, LLP The Omaha Building 1650 Farnam St. Omaha, NE 68102-2186 402-346-6000 Fax 402-346-1148 Web: kutakrock.com Specialty: Intellectual Property

NEVADA

BROWNSTEIN, HYATT, FARBER, SCHRECK 100 N. City Pkwy., Ste. 1600 Las Vegas, NV 89106 702-382-2101

Web: bhfs.com

Specialty: Intellectual Property

Additional locations: 5520 Kietzke Lane, Suite 110 Reno, NV 89511 775-324-4100

206 S. Carson Street Carson City, NV 89701 775-398-3838

MARIO F. GONZALEZ, ESQ. 3200 Cartwright Road Reno, NV. 89501 818-707-3894, 818-383-9359

Email: mario@mgonzalezlaw.com Web: mgonzalezlaw.com

Specialty: music attorney

GREENBERG, TRAURIG 10845 Griffith Peak Drive Las Vegas, NV 89135 702-792-3773

Web: gtlaw.com Specialty: Entertainment and intellectual properties

PARSONS, BEHLE & LATIMER 50 W. Liberty St., Ste. 750 Reno, NV 89501 775-323-1601

Web: parsonsbehle.com Specialty: Intellectual Property Litigation, Patents, Trademarks and Copyrights

SNELL & WILMER 3883 Howard Hughes Pkwy., Ste. 1100 Las Vegas, NV 89169-5958 702-784-5200 Web: swlaw.com

Specialty: Intellectual Property

Additional location: 50 W. Liberty St., Ste. 510 Reno, NV 89511 775-785-5440

WEIDE & MILLER, LTD 10655 Park Run Drive Suite 100 Las Vegas, NV 89144 702-382-4804 Fax 702-382-4805

Email: mail@weidemiller.com Web: weidemiller.com

Specialty: Intellectual property and technology law

NEW HAMPSHIRE

GALLAGHER, CALLAHAN & GARTRELL, PC 214 N. Main St. P.O. Box 1415 Concord, NH 03302-1415 603-228-1181, 800-528-1181

Email: cline@gcglaw.com Web: gcglaw.com Contact: Peter Cline

Specialty: Intellectual property, Entertainment Law

MAINE, CERNOTA & RARDIN 547 Amherst St., 3rd Fl. Nashua, NH 03063-4000 603-886-6100

Email: info@mcr-ip.com Web: mcr-ip.com

Specialty: Intellectual property

SHAHEEN & GORDON, PA 180 Bridge Street Manchester, NH 031014 603-635-4099

Web: shaheengordon.com Specialty: Trademark, Copyrights

Additional locations: 107 Storrs St. Concord, NH 03302 603-819-4231

1 Tara Blvd. Suite 200 Nashua, NH 03062 603-605-8144

353 Central Avenue Suite 200 Dover, NH 03820 603-871-4144

NEW JERSEY

JEKIELKE & JANIS LLP 26 Park St. Suite 2045 Montclair, NJ 07042 212-686-7008

Email: jon@jj.lawyers.com Web: jj-lawyers.com Contact: Jon Jekielek

Specialty: Entertainment Law

MCCARTER & ENGLISH, LLP 100 Mulberry St. Newark, NJ 07102 973-622-4444 Fax 973-624-7070

Email: info@mccarter.com Web: mccarter.com Specialty: Litigation, Intellectual Property, Trademark, Copyright, Contracts

PAUL B. UNGAR 16 Monmouth Ave. Edison, NJ 08820 732-692-4286

Email: paul@paulbungar.com Web: paulbungar.com

Contact: Paul Ungar

Specialty: Entertainment Law, Intellectual Property, Trademark, Copyright

NEW MEXICO

PEACOCK LAW 201 Third Street, NW Suite 1340 Albuquerque, NM 87102 Web: peacocklaw.com 877-998-1506, 505-998-1500

NEW YORK

ASSOCIATION OF THE BAR OF THE CITY OF N.Y. 42 W. 44th St. New York, NY 10036 212-626-7373, 800-342-3661

Web: nycbar.org

BELDOCK, LEVINE & HOFFMAN 99 Park Ave., 26th Fl. New York, NY 10016 212-490-0400

Email: pmatorin@blhny.com Web: blhny.com Contact: Peter Matorin

Specialty: Entertainment Law, Intellectual Property

Directory of Music Attorneys

CHRISTOPHER HOYT, ESQ.

The Hoyt Law Group, LLC 30 Wall St., 8th Fl. New York, NY 10005 212-268-3414 Email: info@cwhesq.com Web: cwhesq.com

Specialty: Entertainment and Business Law *No unsolicited material

CODISPOTI & MANCINELLI, LAW OFFICES OF 111 John St., Ste. 800 New York, NY 10038 212-791-9453 Email: bruno@codispotilaw.com Web: codispotilaw.com

Contact: Bruno Codispoti

Specialty: Entertainment Law

Additional location: 26 Court Street Suite 1200 Brooklyn, NY 1242 212-791-9453, 212-962-6525

WALLACE E. J. COLLINS III, ESQ 250 E. 39th St., Ste. 9K New York, NY 10016 212-661-3656

Email: wallace@wallacecollins.com Web: wallacecollins.com

Contact: Wallace Collins

Specialty: Entertainment and Intellectual Property

COWAN, DEBAETS, ABRAHAMS & SHEPPARD, LLP 41 Madison Ave., 34th Fl. New York, NY 10010 212-974-7474 Fax 212-974-8474 Email: info@cdas.com Web: cdas.com

Specialty: Entertainment Law

Additional location: 9454 Wilshire Blvd., Ste. 901 Beverly Hills, CA 90212 310-340-6334

DAVIS, SHAPIRO, LEWIT, GRABEL, LEVIN, GRANDERSON & BLAKE 414 W. 14th St., 5th Fl. New York, NY 10014 212-230-5500 Email: info@davisshapiro.com Web: davisshapiro.com

Specialty: Entertainment Law

DAVIS WRIGHT TREMAINE, LLP 1251 Ave. of the Americas, 21st Fl. New York, NY 10020-1104 212-489-8230, 212-603-6433

Contact: Alexandra Nicholson, Partner Email: allienicholson@dwt.com Web: dwt.com

Specialty: Entertainment Law

DORSEY & WHITNEY, LLP 51 W. 52nd St. New York, NY 10019-6119 212-415-9200, 212-415-9269 Email: Edelman.sandra@dorsey.com Web: dorsey.com

Contact: Sandra Edelman

Specialty: Intellectual Property FOSTER GARVEY PC 100 Wall St., 20th Fl. New York, NY 10005-3708 212-431-8700 Web: foster.com Specialty: Entertainment Law

GEORGE T. GILBERT, ATTORNEY AT LAW 74 W. 68th St., Ste. 9B New York, NY 10023 212-677-2001, 917-817-4819 Web: linkedin.com/in/georgegilbert

Specialty: Intellectual Property, Entertainment law with focus on the music industry, literary, television and film. Trademark and Copyright

GEORGE STEIN, LAW OFFICES OF 270 Madison Ave., Ste. 1410 New York, NY 10016 212-683-5320 Fax 212-686-2182 Email: georgestein@earthlink.net Web: georgesteinlaw.com

Contact: George Stein Specialty: Entertainment Law, Music Law, Copyrights

GOTTLIEB, RACKMAN & REISMAN 270 Madison Ave., 8th Fl. New York, NY 10016 212-684-3900 Fax 212-684-3999

Email: arubenstein@grr.com Web: grr.com

Contact: Allen I. Rubenstein

Specialty: Entertainment Law

GREENBERG TRAURIG One Vanderbilt Avenue New York, NY 10017 212-801-9200 212-801-6781

Email: Kanusherl@gtlaw.com Web: gtlaw.com

Contact: Laurence A. Kanusher

Specialty: Music Law & Entertainment Law

HEYMAN LAW 355 8th Avenue, Suite 5H New York, NY 10001 212-414-9522

Email: info@heylaw.com Web: heylaw.com

Specialty: Entertainment Law, Copyright, Trademark, New Media

JEFFREY GANDEL, LAW OFFICES OF 1623 3rd Ave., Ste. 22A New York, NY 10128 212-289-0709 Fax 212-289-0686

Email: jeff@gandellaw.com

Web: gandellaw.com

Contact: Jeffrey Gandel

Specialty: Music Law, Film Law, Litigation

THE JACOBSON FIRM, P.C. 347 5th Ave., Ste. #810 New York, NY 10016 212-683-2001

Email: info@jacobsonfirm.com Web: jacobsonfirm.com

JOEL BROOKS & ASSOCIATES PC 25 S. Service Rd., Ste. 240 Jericho, NY 11753 516-338-0533

Contact: Joel Brooks Specialty: Music Law

KATTEN, MUCHIN & ROSENMAN, LLP 50 Rockefeller Plaza New York, NY 10020 212-940-8800, 212-940-8776

Email: karen.ash@katten.com Web: katten.com

Contact: Karen Artz Ash Specialty: Intellectual Property KIA LAW FIRM 149 Madison Ave., Ste. #1105 New York, NY 10016 212-679-4200 Fax 212-679-4155 Email: info@kialawfirm.com Web: kialawfirm.com

Specialty: Entertainment Law

LEVINSOHN ASSOCIATES, P.C.333 333 Westchester Avenue Suite E1101 White Plains, NY 10604 212-262-1000

Email: assistant@entlawfirm.com Web: entlawfirm.com Specialty: I.P. and Copyright LOEB & LOEB, LLP 345 Park Ave. New York, NY 10154-1895 212-407-4000, 212-407-4990 Email: lruckel@loeb.com Web: loeb.com

Contact: Laurie S. Ruckel Specialty: all areas

MANATT, PHELPS & PHILLIPS 7 Times Sq. New York, NY 10036 212-790-4500 Fax 212-790-4545 Web: manatt.com Specialty: all areas

Additional location: 136 State St., Ste. 300 Albany, NY 12207 518-431-6700 Fax 518-431-6767

MARIA SCHEURING 34 E. Main Street, Ste. 196 Smithtown, NY 11787 631-360-0226

Email: MariaS@mselawyer.com Web: mselawyer.com Contact: Maria Scheuring, Owner

Specialty: Music Law, Negotiation, Contracts, Band Agreements, Music Publishing and Licensing. Litigation for Musicians, Music Merchants, Promoters and Venues

MARVIN KATZ, LAW OFFICES OF 1325 Avenue of the Americas 27th Floor New York, NY 10022 212-486-6001 Fax 212-486-4608

Email: marvin@mkatzlaw.net Web: mkatzlaw.net

Contact: Marvin Katz Specialty: Contracts, Mergers, Acquisitions, Music Publishing

MATTHEW L. KLETTER Law Office of Matthew L. Kletter, PLLC Tarrytown, NY 914-681-5191, 914-844-5766

Email: mkletter@msn.com Web: linkedin.com/in/mkletter

Contact: Matthew Kletter Specialty: Entertainment Law

ROBERT S. MELONI, P.C. 3 Columbus Cir., 15th Fl. New York, NY 10019 212-520-6090

Email: rmeloni@m2lawgroup.com Web: m2lawgroup.com

Contact: Robert S. Meloni

Specialty: Entertainment and I.P. Litigation

PELOSI, WOLF, SPATES, LLP 50 Broad Street, Suite 1609 New York, NY 10279 212-334-4801 212-334-3599

Web: pwes.com

Contact: John Pelosi

Specialty: Entertainment Law, Music Law, Intellectual Property

PERKINS COIE 1155 Avenue of the Americas 22nd Floor New York, NY 10036-2711 212-262-6900

Web: perkinscoie.com

Specialty: Trademark Law, Intellectual Property

PROSKAUER, ROSE, LLP Eleven Times Square (8th Ave. & 41st St.) New York, NY 10036-8299 212-969-3000

Web: proskauer.com Specialty: practice limited to litigation of commercial and entertainment related disputes *No unsolicited material

PRYOR CASHMAN, LLP 7 Times Square 40th Floor New York, NY 10036 212-421-4100 Fax 212-326-0806

Email: fscibilia@pryorcashman.com,  bsemel@pryorcashman.com Web: pryorcashman.com Contact: Frank P. Scibilia, Benjamin K. Semel

Specialty: Entertainment Law, Music Law, Intellectual Property, Litigation

RENZULLI LAW FIRM, LLP One North Broad, Suite 1005 White Plains, NY 10601 914-285-0790

Contact: John F. Renzulli Email: jrenzulli@renzullilaw.com Web: renzullilaw.com

RITHOLZ LEVY SANDERS CHIDEKEL & FIELDS, LLP 235 Park Ave. S., 3rd Fl. New York, NY 10003 212-448-1800 Email: hello@rlscf.com Web: rlscf.com

Specialty: Entertainment Law

Additional locations: 10940 Wilshire Blvd., Ste. 1600 Los Angeles, CA 90024 310-443-4176

131 South 11th Street Nashville, TN 37206 615-250-3939

ROBERT A. CELESTIN, ESQ. 1650 Broadway, #505 New York, NY 10019 212-262-1103 Web: raclawfirm.com

Contact: Robert A. Celestin Specialty: Entertainment Law

ROBINSON BROG LEINWAND GREENE GENOVESE AND GLUCK, PC 875 3rd Ave. New York, NY 10022 212-603-6300

Email: info@robinsonbrog.com Web: robinsonbrog.com

Specialty: Entertainment Law, Music Law, Indie Label Consulting, Contracts

RUBIN & BAILIN, LLP Marc Bailin, Esq 501 Madison Avenue New York, NY 10022 212-829-8920

Specialty: Music Law

SENDROFF & BARUCH, LLP 1500 Broadway, Ste. 2201 New York, NY 10036 212-840-6400 Fax 212-840-6401

Email: msendroff@sendroff.com Web: sendroffbaruch.com

Contact: Mark Sendroff Specialty: Entertainment Law

SERLING, ROOKS, HUNTER, MCKOY, WOROB & AVERILL LLP 119 5th Ave., 3rd Fl. New York, NY 10003 212-245-7300 Web: serlingrooks.com

Contact: Joseph Lloyd Serling Specialty: Entertainment Law, Music Law

HERBSMAN HAFER WEBER & FRISCH LLP 494 8th Ave., 6th Fl. New York, NY 10001 212-245-4580 Fax 212-956-6471

Email: info@musiclaw.com Web: musiclaw.com

Contact: Jonas Herbsman Specialty: Entertainment Law, Copyrights, Contracts

SLOSS ECKHOUSE BRENNAN LAW CO. 16 Broadway 14th Floor New York, NY 10004 212-627-9898

Email: office@slosslaw.com Web: slosslaw.com

Contact: Johns Sloss Specialty: Entertainment Law

STAIRS, DILLENBECK, FINLEY 200 Park Ave. S., Ste. 511 New York, NY 10003 212-697-2700 Fax 212-687-3523

Email: stairs@stairsdillenbeck.com Web: stairsdillenbeck.com

Specialty: Entertainment Law

VOLUNTEER LAWYERS FOR THE ARTS 729 7th Avenue Suite 1401 New York, NY 10019 212-319-2787 Ext. 1

Email: registrations@vlany.org Web: vlany.org

Contact: Elena M. Paul

Specialty: Pro Bono legal services for artists

NORTH CAROLINA

GERBER LAW FIRM 102 West Third Street, Suite 480 Winston-Salem, NC 27101 336-773-1324

Email: agerber@gerberlawfirm.net Web: gerberlawfirm.net

Contact: Andrew Gerber

Specialty: Entertainment Law, Contracts, Copyright and trademark law, Business Planning

NORTH DAKOTA

NEUSTEL LAW OFFICES, LTD 2534 S. University Dr., Ste. 4 Fargo, ND 58103 701-281-8822, 800-280-1711

Email: info@neustel.com Web: neustel.com

Specialty: Intellectual Property

VOGEL LAW FIRM 218 North Pacific Ave. P.O. Box 1389

Fargo, ND 58107-1389 866-771-9930 Web: vogellaw.com Specialty: Intellectual Property

Additional location: 200 N. 3rd St., Ste. 201 Bismarck, ND 58502-2097 701-214-4393

OHIO

BENESCH ATTORNEYS AT LAW 200 Public Sq., Ste. 2300 Cleveland, OH 44114 216-363-4151

Email: mavsec@beneschlaw.com Web: beneschlaw.com Contact: Mark E. Avsec Specialty: Intellectual Property

BRICKER & ECKLER 100 S. 3rd St. Columbus, OH 43215 614-227-2300 Fax 614-227-2390

Email: Jknight@bricker.com Web: bricker.com Contact: Jeff Knith Specialty: Intellectual Property

Additional location: 1350 Euclid Avenu Suite 650 Cleveland, OH 44115 216-523-5405 Fax 216-523-7071

OKLAHOMA

ABINGTON INTELLECTUAL PROPERTY LAW & CONSUMER CLASS ACTIONS 320 S. Boston Ave., Ste. 1130 Tulsa, OK 74103 918-588-3400 800-969-6570 Email: info@abingtonlaw.com Web: abingtonlaw.com

Specialty: Copyrights

OREGON

PERKINS COIE 1120 N.W. Couch St., 10th Fl. Portland, OR 97209-4128 503-727-2000, 503-727-2116

Email: BBeel@perkinscoie.com Web: perkinscoie.com Contact: Bryan D. Beel, Ph.D. Counsel Specialty: Trademark Law, Intellectual Property

PETER VAUGHAN SHAVER, ESQ. SOUND ADVICE, LLC Creative Legal Services 3939 N.E. Hancock St., Ste. 308 Portland, OR 97212 503-473-8252 Email: pv@pdxsa.com Web: pdxsa.com Contact: Peter Vaughan Shaver Specialty: Art & Entertainment Law, contracts, publishing, recording deals

SEAN CLANCY LAW, LLC 621 SW Morrison Street Suite 900 Portland, OR 97205 971-251-0152

Web: seanclancylaw.com Contact: Sean Clancy Specialty: Intellectual Property Law Mail: 1819 S.W. 5th Ave., #125 Portland, OR 97201

PENNSYLVANIA

BALLARD SPAHR, LLP 1735 Market St., 51st Fl. Philadelphia, PA 19103-7599 215-665-8500, 215-864-8109

Email: rzoncal@ballardspahr.com Web: ballardspahr.com

Contact: Lynn E. Rzonca, Chair

Specialty: Intellectual Property

BERNARD MAX RESNICK, ESQ. PC 2 Bala Plaza, Ste. 300 Bala Cynwyd, PA 19004 610-660-7774 Fax 610-668-0574 Email: bmresnick@gmail.com Web: bernardresnick.com

Contact: Bernard Resnick Specialty: Entertainment Law/Music Publishing CAESAR, RIVISE, BERNSTEIN, COHEN & POKOTILOW, LTD 1635 Market St., 12th Fl. Philadelphia, PA 19103-2212 215-567-2010 Fax 215-751-1142

Email: gatekeeper@crbcp.com Web: crbcp.com Specialty: Intellectual Property, Computer and Information Technology Law

Additional location: 1275 Glenlivet Drive Suite 100 Allentown, PA 18106 610-255-7551

DOVAS LAW, PC 307 Bainbridge St. Philadelphia, PA 19147 267-940-7725 Fax 267-295-6078

Email: info@dovaslaw.com Web: dovaslaw.com

Specialty: Intellectual Property

ASH KERNEN, ESQ Kernen Law 1627 N. 2nd St. Ste. 123 Philadelphia, PA 19122 215-399-0404 Email: info@kernenlaw.com Web: KernenLaw.com

Specialties: Music Law, Entertainment Law, Trademarks, Copyrights

*No unsolicited material accepted

COZZA LAW GROUP PLLC 510 Washington Avenue Carnegie, PA 15106

Office: 412-701-6184

Contact: Rocco E. Cozza, Esq.

Email: rcozza@cozzalaw.com Web: cozzalaw.com

Specialties: Entertainment Law, IP Law, Business & Contract Law

STEPHEN E. VANYO, ESQ.

Associate, Law Offices of Lloyd Z. Remick

One Liberty Place, 1650 Market Street, 56th Floor Philadelphia, PA 19103 Office: (215) 575-3820

Email: stephen.zanemgmt@gmail.com, vanyo@braverlaw.com

RHODE ISLAND

ADLER POLLOCK & SHEEHAN PC

One Citizens Plaza, 8th Fl. Providence, RI 02903-1345 401-274-7200 Fax 401-751-0604 Email: pcampellone@apslaw.com Web: apslaw.com

Contact: Paul A. Campellone

Specialty: Intellectual Property

Additional location: 49 Bellevue Avenue Newport, RI 02840 401-847-1919

SOUTH CAROLINA

DORITY & MANNING, PA

Two Liberty Sq. 75 Beattie Pl., Ste. 1100 Greenville, SC 29601 864-271-1592, 800-815-6705

Email: jmb@dority-manning.com Web: dority-manning.com

Contact: James M. Bagarazzi

Specialty: Intellectual Property Law

BURR & FORMAN LLP 100 Calhoun St., Ste. 400 Charleston, SC 29401 843-723-7831 Fax 843-722-3227

Web: burr.com

Specialty: Intellectual Property

Additional locations: The Plaza at Belfair 4 Clarks Summit Dr., Ste. 200 Bluffton, SC 29910 843-815-2171

1221 Main Street, Suite 1800 Columbia, SC 29201 803-799-9800

Poinsett Plaza 104 South Main Street, Suite 700 Greenville, SC 29601 864-271-4940

Shelter Cove Executive Park 23-B Shelter Cove Lane, Suite 400 Hilton Head Island, SC 29928 843-785-2171

Founders Centre 2411 Oak Street, Suite 206 Myrtle Beach, SC 29577 843-444-1107

MOORE & VAN ALLEN 78 Wentworth St. Charleston, SC 29401-3535 843-579-7000

Web: mvalaw.com

Specialty: Intellectual Property

Additional location: 100 N. Tryon St., Ste. 4700 Charlotte, NC 28202-4003 704-331-1000

SOUTH DAKOTA

DAVENPORT, EVANS, HURWITZ & SMITH, LLP 206 W. 14th St. P.O. Box 1030 Sioux Falls, SD 5701 605-336-2880

Email: info@dehs.com Web: dehs.com

WOODS, FULLER, SHULTZ & SMITH, P.C. 300 S. Phillips Ave., Ste. 300 Sioux Falls, SD 57104 605-336-3890

Email: Jim.Wiederrich@WoodsFuller.com Web: woodsfuller.com

Contact: James M. Wiederrich

Additional locations: 2301 Research Park, Ste. 225 Brookings, SD 67006 605-336-3890

815 N.Main Avenue, Suite 2 Sioux Center, IA 51250 712-722-5300

1201 S. 2nd Ave, Ste. 1 Sheldon, IA 51201 712-631-4056

TENNESSEE

ADAMS AND REESE, LLP

1600 West End Avenue Suite 1400 Nashville, TN 37203 615-259-1450, 615-259-1452

Email: mitch.boult@arlaw.com Web: adamsandreese.com

Contact: Reber M. Boult

Specialty: Entertainment Law, Music Law, Intellectual Property

Additional location: Crescent Center 6075 Poplar Ave., Ste. 700 Memphis, TN 38119

615-259-1485

Email: phil.kirkpatrick@arlaw.com

Contact: Philip M. Kirkpatrick ESKRIDGE & ESKRIDGE LAW FIRM PC 119 So. Main St., Ste. 500 Memphis, TN 38103 901-522-9600

Email: info@eskridgefirm.com Web: eskridgefirm.com

Contact: Janelle R. Eskridge Specialty: Entertainment Law, Trademark, Copyright FARRAR & BATES 12 Cadillac Drive Suite 480 Brentwood, TN 37027 615-254-3060

Email: info@farrar-bates.com Web: farrar-bates.com

Contact: Russ Farrar

Specialty: Entertainment Law, I.P./Copyright GORDON LAW GROUP 105 Westpark Dr. Ste 350 Brentwood, TN. 37027 615-933-2435

Email: robin@gordonlawgroup.com Web: gordonlawgroup.com

Contact: Robin J. Gordon Specialty: Contracts, Copyrights, Litigation

KING & BALLOW 315 Union St., Ste. 1100 Nashville, TN 37201 615-259-3456, 615-726-5422 Email: rbusch@kingballow.com Web: kingballow.com

Contact: Richard Busch Specialty: Entertainment Law, Trademarks, Copyrights LOEB & LOEB, LLP 35 Music Sq. E., Ste. 310 Nashville, TN 37203 615-749-8300, 615-749-8312

Email: dcrownover@loeb.com Web: loeb.com

Contact: Derek Crownover Specialty: all areas

MILOM, HORSNELL, CROW, ROSE, KELLEY 3310 W. End Ave., Ste. 610 Nashville, TN 37203 615-255-6161 Fax 615-254-4490

Email: info@milomlaw.com Web: milomlaw.com

Contact: David S. Crow Specialty: Entertainment Law RICHARD D. ROSE 1209 16th Ave, S., 2nd Fl. Nashville, TN 37212 Mailing address: 615-330-7673

Email: hello@copyrightcafe.com Web: copyrightcafe.com

Contact: Richard D. Rose Specialty: Entertainment, Internet, Copyrights, Trademark, Clearance

SHACKELFORD, BOWEN, MCKINLEY & NORTON, LLP 1 Music Circle South Suite 300 Nashville, TN 37203 615-329-4440 Web: shackelford.law/groups/nashville Specialty: Entertainment Law, Contracts

SHRUM & ASSOCIATES 1222 16th Ave., S, Ste. 23 Nashville, TN 37212 615-338-5130

Email: info@shrumlaw.com Web: barryshrum.com

Contact: Barry Neil Shrum

Specialty: Entertainment Law, Intellectual Property, Trademarks, Copyrights

TEXAS

AL STAEHELY, JR., LAW OFFICES OF 713-528-6946

Email: al@music-lawyer.com Web: music-lawyer.com

Contact: Al Staehely, Jr. Specialty: Entertainment Law

AMY E. MITCHELL, ATTORNEY, MEDIATOR, COUNSELOR AT LAW 4413 Spicewood Springs Rd. Suite 303 Austin, TX 78759 512-505-0845

Email: law@amyemitchell.com Web: amyemitchell.com

Contact: Amy E. Mitchell

Specialty: Entertainment Law

CRAIG BARKER, P.C., LAW OFFICE OF 401 Congress Ave., Ste. 1540 Austin, TX 78701 512-494-0777

Email: craig@craigbarkerlaw.com Web: craigbarkerlaw.com

Contact: Craig Barker Specialty: Entertainment Law

DAVID W. SHOWALTER, LAW OFFICES OF 1117 FM 359 Rd., Ste. 200 Richmond, TX 77406 888-627-4042, 281-762-6872

Email: info@showalterlaw.com Web: showalterlaw.com

Contact: David Showalter

Additional location: 701 South Adams Fredericksburg, TX. 78624

DECKER, JONES, MCMACKIN, MCCLANE, HALL & BATES Burnett Plaza 801 Cherry St., Ste. 2000, Unit 46

Fort Worth, TX 76102 817-336-2400 817-429-5260 Web: deckerjones.com

Specialty: Entertainment Law, Intellectual Property

FRITZ, BYRNE, HEAD, & FITZPATRICK 221 W. 6th St., Ste. 960 Austin, TX 78701 512-476-2020 Email: info@fbhh.com Web: fbhf.com

Specialty: Litigation, Contracts, Copyright, Intellectual Property

Additional location: 800 N. Shoreline, Suite 2000S Corpus Christi, TX 78401 361-883-1500

GRAVES, DOUGHERTY, HEARON, & MOODY, P.C. 401 Congress, Ste. 2200 Austin, TX 78701 512-480-5600

Email: gdhm@gdhm.com Web: gdhm.com Specialty: Intellectual Property, Entertainment Law

MICHAEL NORMAN SALEMAN, LAW OFFICES OF 100 Congress Ave., 11th Fl. Austin, TX 512-263-5932 Fax 512-263-5929

Email: saleman@movielaw.net Web: movielaw.net

Contact: Michael Saleman Specialty: Entertainment Law

MIKE TOLLESON & ASSOCIATES 2106 E. Martin Luther King Jr. Blvd. Austin, TX 78702 512-480-8822 Fax 512-479-6212 Email: mike@miketolleson.com Web: miketolleson.com

Contact: Mike Tolleson Specialty: Entertainment Law

PERKINS COIE 500 N. Akard St., Ste. 3300 Dallas, TX 75201 214-965-7700, 214-965-7799 Email: jlewis@perkinscoie.com Web: perkinscoie.com

Contact: Jill B. Ness Specialty: Trademark Law

ROBERT R. CARTER, JR. P.O. Box 1441 Austin, TX 78767 512-304-5275

Email: RobertRCarterJr@gmail.com Web: robertrcarter.com/about Contact: Robert R. Carter, Jr. Specialty: Entertainment Law

TEXAS ACCOUNTANTS & LAWYERS FOR THE ARTS P.O. Box 144722 Austin, TX 78714 512-459-8282

Email: info@talarts.org Specialty: Non-profit organization provides legal services for artists

UNDERWOOD, PERKINS, PC 5420 LBJ Fwy. Two Lincoln Centre, Ste. 1900 Dallas, TX 75240 972-661-5114 Fax 972-661-5691 Email: info@underwoodperkins.com Web: underwoodperkins.com

Contact: Evan Fogelman Specialty: Entertainment Law and Intellectual Property UTAH

PARR BROWN GEE & LOVELESS

101 South 200 East, Suite 700 Salt Lake City, UT 84111 801-532-7840 Fax 801-532-7750

Email: manderson@parrbrown.com Web: parrbrown.com

Contact: Michael S. Anderson Specialty: Full-Service Entertainment Law, including Music Law, Film & TV Law, Intellectual Property, Contracts, Litigation

PARSONS, BEHLE & LATIMER 201 S. Main St., Ste. 1800 Salt Lake City, UT 84111 801-532-1234, Fax 801-536-6111 Email: rjohnson@parsonsbehle.com Web: parsonsbehle.com

Contact: Rexford A. Johnson

Specialty: Intellectual Property Litigation

DORSEY & WHITNEY, LLP 111 South Main St., Ste. 2100 Salt Lake City, UT 84111 801-933-7360, 801-933-8958

Email: benevento.bryon@dorsey Web: dorsey.com

Contact: Bryon Benevento

Specialty: Intellectual Property

SNELL & WILMER 15 W. S. Temple, Ste. 1200 Salt Lake City, UT 84101-1531 801-257-1900 Fax 801-257-1800

Email: info@swlaw.com Web: swlaw.com

Specialty: Intellectual Property

THORPE NORTH & WESTERN 8180 S. 700 E., Ste. 350 Sandy, UT 84070 801-566-6633 Fax 801-566-0750

Email: patlaw@tnw.com Web: tnw.com

Specialty: Intellectual Property

VERMONT

DOWNS RACHLIN MARTIN, PLLC

199 Main St. P.O. Box 190 Burlington, VT 05402-0190 802-863-2375 Fax 802-862-7512

Email: info@drm.com

Web: drm.com Specialty: Intellectual Property

Additional location: 132 Main Street Suite 212 Brattleboro, VT 05301 802-258-3070

PRIMMER PIPER EGGLESTON & CRAMER, PC 30 Main St., Ste. 500 P.O. Box 1489 Burlington, VT 05402-1489 802-864-0880

Email: jgrant@primmer.com Web: primmer.com Contact: Jeremy S. Grant, Associate Specialty: Intellectual Property and Technology

VIRGINIA

VENABLE, LLP 8010 Towers Crescent Dr., Ste. 300 Tysons Corner, VA 22182 703-760-1600 Fax 703-821-8949

Web: venable.com Specialty: Intellectual Property WASHINGTON

DORSEY & WHITNEY, LLP Columbia Center 701 5th Ave., Ste. 6100 Seattle, WA 98101-4010 206-903-8800, 206-903-8791

Email: alexander.nathan@dorsey.com Web: dorsey.com Contact: Nathan Alexander Specialty: Intellectual Property

FOSTER GARVEY 1111 Third Avenue, Suite 3000 Seattle, WA 98101 206-447-4400, 206-447-6282 Email: ben.hodges@foster.com Web: foster.com Contact: Benjamin Hodges Specialty: Intellectual Property

PERKINS COIE

The PSE Building 10885 N.E. 4th St., Ste. 700 Bellevue, WA 98004 425-635-1400 425-635-1402

Email: MQuehrn@perkinscoie.com Web: perkinscoie.com Contact: Markam (Mark) A. Quehrn Specialty: Trademark Law, Intellectual Property WEST VIRGINIA

BOWLES RICE, ATTORNEYS AT LAW

University Town Centre 125 Granville Square, Suite 400 Morgantown, WV 26501 304-285-2500 Fax 304-285-2530

Web: bowlesrice.com Specialty: Intellectual Property

Additional locations: 101 S. Queen St. Martinsburg, WV 25401 304-264-4200

600 Quarrier St. Charleston, WV 25301 304-347-1100

United Square, Fifth Floor 501 Avery Street Parkersburg, WV. 26101 304-485-8500

FROST BROWN TODD 500 Virginia St. East, Suite 1100 Charleston, WV 25301 304-345-0111 Fax 304-345-0115 Web: frostbrowntodd.com Specialty: Trademark Law, Intellectual Property WISCONWISCONSIN

BOARDMAN & CLARK, LLP 1 S. Pinckney St., Ste. 410 Madison, WI 53703 608-257-9521

Web: boardmanclark.com

Specialty: Patents, Copyrights, Trademarks and Trade Secret Law

Additional locations: 1038 Lincoln Ave. P.O. Box 87 Fennimore, WI 53809-0087 608-822-3251

27 W. Main St. Belleville, WI 53508-9428 608-424-3404

141 3rd Ave. Ste. 1 P.O. Box 443 Baraboo, WI 53913-0443 608-356-3977

156 South Main St. P.O. Box 256 Lodi, WI 53555-0258 608-592-3877

213 N. Main St., Ste. 200 P.O. Box 128 Poynette, WI 53955-0128 608-635-4324

PERKINS COIE

33 E. Main St., Ste. 201 Madison, WI 53703-5118 608-663-5408

Email: danstaett@perkinscoie.com Web: perkinscoie.com

Contact: David L. Anstaett, Partner

Specialty: Trademark, Intellectual Property WYOMING

ROBERT P. SCHUSTER, P.C. Attorney at Law 250 Veronica Lane, Suite 204 P.O.Box 13160 Jackson, WY 83002 307-732-7800

Email: info@bobschuster.com Web: bobschuster.com/practice-areas/intellectualproperty-attorney

How to Make Sure You Reach Your Goals in 2023

(The following is an excerpt from How to Make It in the New Music Business - Third Edition by Ari Herstand.)

Amusic career is not a sprint. It’s a marathon. So many young musicians think that they will “make it” within the first few years of dropping their first single. I know I did. You need to be realistic about your goals and pursuits. Sure, there is a bit of luck that determines the speed of your success, but there’s no luck in determining whether you will succeed. The harder you work, the quicker you will reach your goals.

But what are your goals? Do you even know? “Becoming a rock star” is too ambiguous. What does that mean? Selling out arenas? Hits on the radio? Making a million dollars? These can be some of the metrics you use to define milestones in your career, but you need obtainable, concrete goals that you spend every day working toward. Goals can shift. Mine sure have. But goals help keep you focused at every stage of your career.

But you need SMART goals: Specific Measurable Achievable Realistic Timebound

“I want to make a living with music” is not a SMART goal. Sure, we all do. But that kind of “goal” gives you no guidance. An example of a SMART goal is more pinpointed: “I want to play a sold-out show at the Echo in 6 months.” Here’s a breakdown:

Specific: Concretely defines what you’re aiming for: sell out a venue.

Measurable: That’s 350 tickets. Achievable: Very possible. Realistic: If you’ve never played a show in L.A. before, have no online following or traction, selling 350 tickets in 6 months is not realistic. If you’ve played L.A. a bunch and your previous show sold 100 tickets and you’re starting to gain some traction online, then sure, 350 tickets is not that far-fetched.

Timebound: 6 months.

Once you know what you are aiming for, then you can reverse engineer it. Here’s how you’d do so using our Echo example: Find out who books the Echo. See what kinds of shows are on their calendar. Do you know any of those bands? If so, can you hop on any of those bills? Do you want to do a headline show or a co- bill? Do you have any connections to the talent buyer? If not, track down their email. Once the date is locked, plan out your promotional calendar so every day you are working on selling 350 tickets. Reverse engineer. March confidently in that direction.

Create a Word document and title it “My Music Marathon.” Then make four sections: 6 Months

1 Year 3 Years 26 Years

Under each section, write down where you see yourself in 6 months, 1 year, 3 years and 26 years. You can have lofty goals, but be realistic. These need to be SMART goals. There are many different paths to sustained success, so I can’t define your goals for you.

Have fun with this list. If it turns into a mini novel, great! Really put some thought into it and allow it to be a constant work in progress.

Print out this goal sheet and stick it to the wall of your rehearsal space. It’s good to glance at it every once in a while to keep you on track. Get a highlighter and color the goals you reach. Hopefully, in six months, section one will be

devoting their efforts, but with a goal sheet, you can always make sure you’re still on track.

Every six months, reevaluate your list. Right now, open your calendar and set a recurring block of time for every six months to sit down and rewrite your 26-year marathon.

Making a SMART goals sheet is the single most important thing you can do in your music career no matter what stage you’re at. If you’re just starting off, make a goals sheet. If you’re five decades into your music career, make a goals sheet. No one’s above setting goals. And it’s never too late to get your career on track.

fully colored. Whenever you have updates or slight shifts to your trajectory, make a new goal sheet. Print it out and put it up. Don’t just make it a doc on your computer. Hanging this tangible sheet of paper in the physical world gives it life and demands respect.

Have everyone in your band make a goal sheet like this. Then discuss it in a band meeting. Make sure everyone’s visions align and make one master Music Marathon sheet for the band. Because if all of you want to be spending the majority of your year on the road except your bassist, who just wants to record, play occasional local shows and raise his family, then you want to address this sooner than later. It may be time to find another bassist. You don’t want this to come up a week before you’re leaving for your first big tour. Sound absurd? I’ve seen it happen. “Yo, guys, I don’t know about this tour. I mean, we’re not going to make any money and I need to be looking out for my family. I really don’t think it’s a good idea. And I don’t want to be away for this long.” “Really dude? You couldn’t have told us this, like, a year ago when we were planning this thing?” Commence epic band fight in which you admit you slept with the mother of his children when they first started dating. Don’t let it come to that. For the sake of his children. So have the goals discussion early on.

Remember, these have to be SMART goals. Make sure this list is extremely specific so you can reverse engineer it. Your goals and plans can always shift over time. But this will at least give you some focus and direction. Oftentimes, musicians aren’t sure where they should be

ARI HERSTAND is the author of How to Make It in the New Music Business, the CEO and founder of the music business education company Ari’s Take and the host of the New Music Business podcast.

“If you’re just starting off, make a goals sheet. If you’re five decades into your music career, make a goals sheet.”