Industry Profile: Martin Terefe

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Producer/songwriter Martin Terefe, owner, Kensaltown Studios.

Martin Terefe lives a charmed life.

One of the most creatively diverse musical figures of our time, this 42-year-old Swedish producer/songwriter/multi-instrumentalist/studio owner is able to collaborate with Milton Nascimento in Rio de Janeiro, and with Willie Nelson in Texas, while still overseeing his sprawling 8-room studio complex, Kensaltown Studios, in the heart of West London, England.

Terefe has worked with such acts as Jason Mraz, Train, a-ha, KT Tunstall, James Morrison, Ron Sexsmith, Shea Seger, Eric Gadd, Jamie Cullum, Joshua Radin, Craig David, Waylon, Martha Wainwright, Sarah Slean, Ben’s Brother, Tristan Prettyman, and Yusuf Islam (the former Cat Stevens).

He has worked with Scottish singer/songwriter KT Tunstall throughout her career, and has been very much recognized as being pivotal in her development as an artist.

Terefe’s profile significantly soared in 2010 with a pair of massive international hits.

His production of "I'm Yours" transitioned Jason Mraz from promising troubadour to powerhouse hit maker. The track charted in more than 15 countries including being #1 in Sweden and Norway, and reaching the top 10 in the U.S., Austria, Australia, Canada, Italy, Germany, Switzerland, and Spain.

At 76 weeks on Billboard’s Hot 100, "I'm Yours" holds the record for most weeks spent on the American music trade’s chart, breaking the previous record set by LeAnn Rimes' "How Do I Live" in 1998.

Meanwhile, Terefe’s co-production of Train’s “Hey, Soul Sister” reached #3 on Billboard’s Hot 100 chart, and was #1 in 16 countries.

Signed to an EMI Music Publishing deal at 15 in Sweden, Terefe became hooked on production after assembling a home studio to record demos for his rock band. He soon turned to recording a wider circle of friends. In the mid-90s, he had some success with his productions of singers Sara Isaksson, and Ardis Fagerholm.

In 1996, Terefe moved to London, where he fell in with such artists as KT Tunstall, Martha Wainwright, and Ron Sexsmith, who began recommending him to other artists.

Today, Terefe uses Kensaltown Studios—with its array of high-end audio equipment, and vintage instruments—as his home base. Kensaltown is also a one-stop shop for a community of songwriters, producers and musicians; and home to songwriter/producers Andreas Olsson, James Bryan, and Sacha Skarbek (who co-wrote James Blunt’s global hit “You’re Beautiful.”)

Besides his production and songwriting, Terefe is also a member of Apparatjik with Jonas Bjerre (Mew), Magne Furuholmen (a-ha), and Guy Berryman (Coldplay). Founded in 2008 to contribute to a charity album for Survival International, Apparatjik functions as a wildly experimental conceptual visual arts project, drawing on the talents of a pool of artists, media technicians, designers, and scientists.

You do seem to live a charmed life.

I feel incredibly privileged. I think about that a lot.

You are in the studio now with Erin McCarley, who is signed to Universal Republic.

I am enjoying this time of my life. It’s about balance, and how I can choose projects, and make time for things. The last few years have been the first couple of years in my life where I’ve figured out that (a career) is in my own hands. You make your own decisions. You are responsible for dividing your own time. Funny enough, once you start thinking that way, you have a lot more time.

As an in-demand producer, you get pitched projects all of the time. How do you pick and choose who to produce? You only have 24 hours a day.

That’s the biggest struggle. Sometimes you choose something because you think, “I need to decide what to do.” Sometimes, you make the right choice. Other times, you think, “Wow. I wish I had worked on that.”

But you can’t do everything.

Luckily, a lot of this success came when I had already learned a lot about burning out. I do realize that I can’t do everything. I have a family and, in the last few years, I have been really involved with a side (group) project, Apparatjik. That is taking quite of bit of time, and I am enjoying that a lot. We all are. There are four of us (in the group), and we all have day jobs in the industry. Not only is it fun to do, but we bring out of it a lot of inspiration for everything else that we work on. So, I am mixing a lot of things.

Do commercial instincts kick in as you assess a potential production? Either, “This is too big to pass up” or “I want to do this, but it may not be commercially successful.”

That definitely happens. I can say from personal experience that some of those decisions have been the worst ones in my career. Sometimes, I have taken on the poised “next big thing” and nobody ever hears about it. It’s nice because you get paid for doing it because there’s a big label behind it, but, as we know, there are things from the major labels that you never hear about. But vice-versa too. I have turned down some projects that have really blown up, and become massive. That’s going to happen. And I have worked on projects that have become massive. It is just one of those things.

I have learned through the years that every time I follow my instincts something good has come out financially of (a project)—either eventually, or it led to something. Sometimes, you make a record that doesn’t sell anything. Then years later, someone who is selling millions of records will say, “I heard that record. You are my favorite producer.”

Do you sometimes turn down people you want to work with?

Sometimes I say no to stuff I really, really love. The flip side of being successful is that you always dream of being offered great projects. It’s an amazing feeling when most of the things that you do is stuff that you really love doing. But, at the same time now, I’m in a situation where most things that I get offered—or most things that I hear about, or most things that people come to me to talk about—I can’t do them. I have to say no to the vast majority of people that come my way.

Who says no?

Well, I say no. I don’t know how much stuff Mike (manager Mike Dixon of Franklin, Tennessee-based Michael Dixon Management) says no to without me hearing about it. I’m sure that happens too. I think that generally he tries to play me everything (he is pitched). If I have to say no to something, and it’s something that I like, I try to at least make some kind of comment (about it). If I can help someone in the future.

We are living in another Golden Age of Pop.


Producers and songwriters having access to collaborators around the world, and the overall lack of industry gatekeepers are factors contributing to this.

I think also that with anything bad, good things come. One of the things with the music industry struggling is that for a lot of young artists, the idea of having a major label deal, or going the route that I’m so used to as a songwriter and as a producer, they don’t even see that as a possible route forward. For a long time, there’s been major labels involved, and their A&R department (in producing recordings). Now, there’s a lot of energy in music-making for the sake of making music. That’s really exciting.

Producers no longer have to contend with labels sitting on top of their shoulders.

Definitely, that’s true.

Are you left alone by labels these days with your productions?

It depends. In the pop world, you make the records, and if people like them, then you are left alone. But, on big established artists that have had success, and (they) are trying to follow-up that success, and you are kind of a caretaker of one of the major label’s few big selling artists, there is still a lot of—not just A&R guys (overseeing), but sometimes it feels like it’s the whole label. There is so much riding on the success of the record. That is sometimes the recipe that the follow-up won’t be a success.

Major labels must trust your commercial instincts after “Hey Soul Sister” and “I’m Yours.”

Obviously, it has definitely become easier. I think that there’s a logic in (their attitude) as well. People buy into something that is apparently working or successful. Even if you are buying a bit of technology, you buy something that has been proven to work.

It is a "follow the leader" type industry.

Absolutely. But also, once you do things, and you make (great) records, I guess that (success) is a self-fulfilling prophecy. Once you do have a couple hit records. After KT (Tunstall), the next (production) was James Morrison (as one of the producers of “Undiscovered” in 2006). Then it was a series of artists that were chosen by the labels that were poised to have success. Obviously, it is easier than if you develop something from scratch. And also once you have the ability to make (great) albums, you get asked to do the singles.

How do you balance your creative worlds? Does being a songwriter help you as a producer and vice versa?

Yeah, I think so. At the beginning (of my career), I didn’t intend to become a producer. I didn’t know what a producer was, really. But I got signed to publishing (deal) so early, and I learned (production) from making demos. Starting out, the songwriting definitely helped. But I just discovered that I enjoyed shaping music as well.

Do the two support or balance each other today?

I think yeah. With pop projects, it’s hard to tell where producing becomes songwriting, and vice versa. It is so much about the actual sonics of (the production), and the track. All of that stuff is part of a pop record. It is interesting that I tend to enjoy producing an artist where I’m not involved with the songwriting as much. I don’t know exactly why that is. Most of my favorite artists write their own songs.

Maybe, when you aren’t the co-writer, you can step back a bit as a producer.

Yeah. There are a lot of different aspects to both producing and writing. You can write a song, and it takes on its own life. Obviously, it can be in the recording of the demo; or the first recording of it, if you are involved in the production of it as well; or if it is pitched to someone. I guess the first time that it is recorded you can always have some kind of input on it, but once the song is out there, it takes on its own life. That is kind of nice as well. That it’s out there having its own life. The production is much more about taste and aesthetics. Sometimes it feels as if producing is more self-conscious. Production is a very responsible thing. You have to think about a lot of different things to put a record together. With songwriting, it can be more intuitive.

Your studio complex is off Ladbroke Grove Road on Kensal Road in West London.

I used to own a studio in Stockholm. When I came to London (in 1996) I took all of my gear, and put as much as I could in the back room that I was renting. About a year later, my neighbors were really happy when I decided that I was going to rent a space (in the Saga Centre), which is across the road from where I am now. I worked there for years and the studio kind of grew. Then I got some more space where I am now (in 2004).

What production gear does the studio have?

I have two old Trident (audio) consoles—one from Trident Studios, and I’ve got a nice API (console) from a studio in L.A., which did a lot of Disney orchestra music in the 70s; and I have a Neve console.

How many people work at the studio?

There have been a few different people running the studio. On the engineering side, there seems to be people who come and then move on. Everybody is not employed here. We probably have five to 10 permanent staff at any given time. Then there are musicians, songwriters, and a bunch of engineers.

(Producer/songwriter) Sacha Skarbek works out of the studio as well. He’s the co-writer of "You're Beautiful" with James Blunt, and “Cold Shoulder” with Adele, amongst others. Andreas Olsson, and Canadian (producer/songwriter) James Bryan also work out of here.

Owning a studio is big responsibility, but it’s also a way to attract a strong creative community. Like Motown in Detroit in the ‘60s, or Gamble & Huff, working out of Sigma Sound Studios in Philadelphia in the ‘70s.

That’s really the vibe that we wanted to create. You just set up the possibilities for (the creative vibe) to happen, and it does. Humans are like that,but not everybody. We have done projects here where artists have expected something else. This is definitely not the place with your own private lounge, and entrance. It’s is very much like you are here, and you are part of what’s going on here. But the people I work with come here, and they don’t want to leave. We have quite a few people here quite often. A lot have made records years ago; they are in town and they just come up and hang, and they end up writing with someone here. I really like the vibe (at the studio), but I don’t know with the way the music business is right now. Sometimes, I get this feeling that (the studio is an) undertaking, and everybody else is going out of business.

Daniel Lanois once told me that he considered traditional studios as unnatural places to record.

Lanois was definitely an inspiration to me.

I never understood that thing of the ‘70s studios—no light, bad air conditioning, and really no vibes. I realized that some people seemed to be putting up gear in a house and that they were making records that sounded great.

As I started producing records, I recognized that there were so many different styles of producers, and I didn’t know exactly why the records sounded different. Obviously, now I know that some producers are very involved creatively (in the production), and some are less involved.

There have been so many records that I picked up, and said, “Wow. That’s amazing.” I’d check for the producer, and it was Daniel Lanois. I started realizing that he’s one of the producers who has a very strong identity, and his own sound. I don’t think that I impose as much of myself on the records, but I certainly think I come from the same school that he does. Just being in there playing; and being involved in a lot of the music-making on the records. Obviously, your own personal taste becomes notable on the records. But he was a big inspiration. I read stuff about Brian Eno and Lanois, and I recognized that they seemed to be working and playing (on productions).

You work with different sound mixers. Why not mix your own records?

When I started out making music, I started out as a songwriter. My first publisher (EMI Music Publishing Nordic) couldn’t give me money. Back then people couldn’t pay or sign someone when they were just 15. So, instead, they bought me a bunch of studio equipment (for a home studio). I could already play a bunch of instruments. Then I learned how to engineer.

My first publishing contract was at 15 with EMI. Then Roffe Persson left EMI shortly after he started working with me there. He started his own publishing company (N.E.W. Music Stockholm), and they put in a new staff. Then, I was signed to MCA Music Publishing.

In your first productions, you did everything yourself?

I did all of the recording. I played every instrument. I mixed everything. Sometimes, when there was nobody for mastering, I tried to master (the recordings) myself. So I learned all of the different (production) parts.

As I started having a bit of success—at least being paid for what I did—I started thinking, “What do I enjoy the least? Where can I get someone else to do something that will free me up to do what I love more?” (Not doing) both engineering and mixing took some pressure off me. They are very labor intensive. It opened up time for me to concentrate on writing, listening, and coming in with ideas from outside.

During this past year, there’s been a lot of Apparatchik activity.

We recently did a big exhibition at the National Gallery in Berlin. That was a pretty major art event that probably was a month for us in time (to prepare).

[Apparatjik was invited by the Nationalgalerie Berlin to present the collective's first large-scale project in March 13-17, 2011. The Apparatjik Light Space Modulator was presented as a twofold project: During two weeks the installation could be accessed in the glass hall of the Neue Nationalgalerie; and three concerts were performed at the same location. The project concluded on March 27 with an interactive composition performed in collaboration with the Deutsches Kammerorchester.]

You four have considerable freedom to work.

We don’t have time for a side project, and we don’t have time to tour, but we are enjoying this creative process. There’s no one telling us what to do. It is totally a playground. In music production, and writing a-ha are legends here, and in Europe; and Coldplay is doing pretty well; and so is Mew. I think that we all feel that this project is just for our own satisfaction. And, it seems that we’ve managed to create something that people feel is imaginative. We still don’t know what it is going to become. It seems like it’s more of a cross-genre platform. We collaborate with all of these crazy people.

Earlier this month (May), we did a performance in Moscow that is leading up to an installation in St. Petersburg in October. Right now, we are trying to get Russian mathematicians and players to compose music by playing chess. That’s what we are working on now.

Did you miss playing live? Is that why you have been doing Apparatjik?

Well, sometimes I do miss playing live, but no. I play so much in the studio. I really love what I do. Like most things in my life, this (project) stemmed from another idea. (In 2008) I was doing a charity album for Survival International to raise money for their work in raising awareness for tribal people around the world so that they can protect their lands. There were a lot of people involved with that record like KT (Tunstall), Yusuf (Islam), and some Americans like Jason Mraz, and (of the Black Eyed Peas). There were a bunch of people on that record that I knew from different places.

I wanted to ask a-ha and Coldplay to contribute, but they were both on tour. It so happened that Mags and Guy, who are friends, and I, were in Copenhagen, and Mags had just met Jonas from Mew from a gig in Russia. So we ended up in Copenhagen one night, and we did this song ("Ferreting") for the charity album.

Then we ended up making a record together (“We Are Here” released in 2010) and making films together. Then it turned into an art project. Magne is a visual artist. He has had a career during all of his a-ha career (as a successful visual artist under the name Magne F). We also got Ute Meta Bauer involved. (Bauer is associate professor and director of the Visual Arts Program at the Massachusetts Institute of Technology in Cambridge, Massachusetts).

[“Bruce Parry Presents Amazon - Tribe - Songs for Survival” is a double album released by Kensaltown Records in 2008. The album was released in support of Survival International, the human rights organization for tribal peoples. The themes of the album are life around the Amazon River and other remote tribal areas—topics covered in Bruce Parry’s BBC 2 television series “Tribe and Amazon." All of the music on the album is exclusive, and was written for the project.]

You were very much part of KT Tunstall’s development.

I was, yes. It was years before anyone signed her. When she finally did get signed, it was with a small indie label (Relentless Records), that didn’t have much money to make the record. Steve Osborne produced that record (“Eye to the Telescope” in 2004), but I had been writing with KT, at that point, for about four years. So there’s a bunch of my (production work) from recordings that were made, mixed and put on the record. It was all about getting a record together.

[The second single from the album, “Other Side of the World," written by Martin Terefe and KT Tunstall reached #13 on the UK singles chart. Released May, 9 2005, it spent almost five months on the chart.]

What attracted you to KT?

How we met was a coincidence. I had signed a new publishing deal with Sony/ATV, and KT had signed the same week. We met at some Sony event. Charlie Pinder and Celia McCamley at the company both said, “You two should write something together.” It’s a very interesting relationship for me. I’m not involved in making her records, but I am involved (in her career). We continuously write songs (together). I have songs on all her records, and we write for other people. She’s become a friend. It’s nice to have a different kind of angle with some music.

You don’t write with Ron Sexsmith, but you have produced several records with him.

I have co-written a couple of songs with Ron, but not for his albums. He doesn’t co-write for his albums. We did co-write a Christmas song once, and we have written for a couple of other artists.

I was a big fan of Ron’s when I made the first record (“Cobblestone Runway” in 2002) with him. I don’t know if that is always the best starting point. But I love the records that he’s made with Mitchell (Froom). Then we ended up making almost four records together. Ron is totally his own unique artist. Very few people write songs the way that he does, and in the style that he does.

His style is almost like a bygone era of songwriting.

His songwriting is almost older because there are very few songs (nowadays) that have that normal kind of verse chorus, verse chorus structure. It is very lyrically based, and the verse will lead up to a climax that will have a little refrain. Almost more like ‘60s writing. I think he’s just a fantastic songwriter.

How was it working with Yusuf Islam?

That was really interesting. I’ve have had a few situations like that working with (famous) people. I’ve worked with Graham Nash, Willie Nelson, Yusuf, and even Paul McCartney with Yusuf once. In all of those situations, it’s a funny vibe.

With Yusuf, you recorded the first thing that he did when he started playing again. Nobody even knew he was about to have a career again. How did that come about?

There was this tsunami disaster in 2004 (the Indian Ocean was hit by earthquake-created tsunamis on Dec. 26, 2004), and Yusuf decided to do a charity single. Charlie Pinder made the connection. He said he’d given my phone number to someone but he wouldn’t say who it was. Then I got a really weird call from Yusuf's brother-in-law saying, “If someone came to the studio to record tomorrow, would that be possible?” I said, “What do you mean? Who is it?” He said, “Well just say that we need a band.”

So you produced Yusuf’s charity single “Indian Ocean.”

He came into the studio and I put together a band with Ed Harcourt on Wurlitzer, Magne Furuholmen on piano, and the drummer (Neil Pimrose) from Travis. I played bass. It was quite easy to find people to come down the next day and play with Yusuf. Later, (Indian composer/producer) A.R. Rahman added a girl singing, and David Davidson in Nashville did a string arrangement.

When we started playing in the studio. Yusuf was really shy. He was there kind of fiddling around on the guitar. He hadn’t really been playing for, well, 30 years.

[Proceeds of the "Indian Ocean” single went to help orphans in Banda Aceh, one of the areas worst affected by the tsunami, through Yusuf Islam’s Small Kindness charity. At first, the track was released only through several online music stores, but it was later featured on the Universal compilation album Cat Stevens' “Gold.”

You had earlier produced Ron Sexsmith singing Yusuf’s “Here Comes My Baby” for a charity project.

We connected over that. Yusuf said that he’d heard a version of “Here Comes My Baby” on the radio the other day, and they had changed the riff. I realized that I had done a version of “Here Comes My Baby” with Ron Sexsmith for a Cat Stevens’ tribute album. We did a pretty massive change of the riff to make it different. The Mavericks had done a version of the song (in 1999) based on the original version so we wanted to do something different. He said, “I really like that.” Then he couldn’t really remember how the song went. I remember us sitting on the sofa playing “Here Comes My Baby” and Yusuf checking out the chords. I thought, “This is weird.”

Did you grow up listening to American music?

I grew up in Venezuela. At least that’s where I started listening to music. I was too young before I moved there to remember much (about being in Sweden). I started playing guitar there. I had a guitar teacher who used to come over to our house. He only knew a few Spanish folk songs. I think that’s where the songwriting came from.

What was your dad’s occupation that brought your family to Venezuela?

He was a bio-chemist, and worked at a pharmaceutical company, LKB (LKB-produkter AB). He moved the family there because he was running the Swedish (affiliated) company there.

[In 1986, Pharmacia Fine Chemicals acquired LKB-produkter AB and changed the name to Pharmacia Biotech.]

At what age did you move Venezuela?

I was about five or six. It was the year that I started school, and I don’t really remember things. I think I was 10 when we moved back (to Sweden). Spanish became my second language after Swedish. Now I live in England so English is my second language.

You started playing guitar at age six?

Yeah. My neighbors had this guitar teacher. In retrospect, I now know that he really didn’t know how to play. He would teach me to sing a song much like they do in school. Then he’d write down some chords that would fit that melody. It would be like “Cielito Lindo” (a popular Ranchera song from Mexico) or some kind of Spanish folk song. I immediately understood how (song structure) worked. There were chords and there was melody and there were words. I don’t think I was much older than 10 when I starting writing my own little songs.

Your background likely has led to you being able to work in different locations with ease.

I think so, yeah. It’s a blessing, and a curse. I really don’t feel that…I can’t really say that Venezuela is my home or Sweden or England.

Do you often feel like an outsider?

Yeah, at the same token, I feel like everywhere is my home. Yeah, definitely. Also speaking a few languages helps. You can always communicate with people on some level.

Such a diverse background gives you an international viewpoint.

Yeah, it does.

You also visited the U.S. with your parents.

I remember the first time I went to New York on my own in the late ‘80s. I was 18. I made some money over the summer to buy some music. I realized that if I went to New York and bought (the recordings) it would cost me the same as with airfare and whatever. I went with a friend of mine. We spent a few days in New York. Back then, it was a crazy place. I just thought it was amazing.

You played in several bands while in Sweden. Did you do much producing there?

Yeah, I produced a few records in Sweden. One that was fairly successful, “Red Eden” by Sara Isaksson on MCA Records, and I did some tracks on Ardis (Fagerholm’s) album “Woman” on Stockholm Records.

When you came to London in 1996, why didn’t you apply to work at a studio?

I came to the U.K. because of the Sara Isaksson record. I had already been working in England through the publishing thing, doing some writing. Sara got signed to MCA in London. First for publishing, and then for a record deal. At the same time, MCA was opening up a Swedish affiliate. So (her record) ended up being a co-venture between the two (companies).

My publisher Nick Phillips was then with MCA. As I moved to England, he became the managing director at Universal Music UK. I wrote all of the songs with Sara for her album. Everybody was like, “We should find a producer.” Nick said, "Why don’t you produce her?”

That’s what I did, and the career I’ve had in the States (working) with mixers has been based on that record. When we finished the record, Nick came up with some ideas (for some to mix the album). I just thought, “I don’t know any of these people.” Then one night, the co-producer—who was a friend of mine—and I listened to (Neil Young’s) “Harvest” in the middle of the night while drinking some whiskey, and we thought, “We should mix the album where this was mixed.”

So in the middle of the night I called a guy who worked at Quad Studios (in Nashville). One thing led to another, and we ended up going to Nashville and mixing that record with Richard Dodd who was managed by Michael Dixon. That record was very important in connecting me to people.

You have spent a lot of time in the United States.

I used to have a little place in Santa Monica. But, for the last four or five years, I have been trying to have people come over here (to London). But I enjoy being out there. The thing is that when you travel, when you work in different cities—every time I go to New York and spend some time there—it leads to other things other than what would happen if I was here. I try to balance it. I spend a couple months in the year in the States today.

How did you come to work with David Foster just over a decade ago?

Like most things it was a series of events. I can’t exactly remember what came first but it was a friend at Atlantic, Kevin Williamson who called and asked me if I was interested in working with a young girl who was in town, living in London, and who is David Foster’s daughter. She was living in this house with the Sneaker Pimps, and making this world electronic music. She didn’t really sing. She did poetry. That was Amy Gillies (aka Amy Foster-Gillies). I think that’s how it started.

Around that time, David was working on some tracks for the “Message In The Bottle” film, and I ended up helping on one song on that. I had a flat out in Santa Monica for years when I was working in L.A. and he had a studio up in his house in Malibu. He was really super-generous with me. He always said that he never understood what I did.

David has worked with Barbra Streisand, Céline Dion, Whitney Houston, Madonna, Josh Groban, Michael Bublé, and Natalie Cole. But he also provided the Tubes with their biggest hit “She’s a Beauty” in 1983.

It’s not as far-fetched as you would think (working with Foster) because I used to listen to a lot of records that David played on. One of my favorite records ever is Chaka Khan’s “And The Melody Still Lingers On (A Night In Tunisia)” that is (from the album “What Cha Gonna Do for Me”) which has Herbie Hancock and David Foster. David is playing Moog synth bass on the track. It’s an amazing version. He is an amazing musician, David.

[The Tubes’ “She’s a Beauty” reached #10 on the Billboard Hot 100 in 1983. The Tubes frontman Fee Waybill has said that, “[David Foster] is the best producer I’ve ever worked with. Todd (Rundgren), in my opinion, didn’t hold a candle to David. David’s a genius. He completely changed the whole deal for the Tubes. He wouldn’t stand for anything but perfection.”]

You don’t have an identifiable style other than your productions emphasize vocals.

Yeah, I’m glad you mention that because it is probably what differs me from other producers. That is probably what I do most. First of all, I don’t record vocals in booths. I always record them in the control room. My studio in London is more of a living room set-up. We always record vocals in the same room. I am always in the room with the artist when we are doing vocals.

Also I have largely given up on too much comping or fixing that kind of stuff. I used to be (stricter). A lot of vocals on my records are very raw takes. I do take care to make sure that there is an engineer that knows what he’s doing when he records so it sounds great.

I love to be able to hear and get intrigued by a story that someone is telling. To me that is the thing that still excites me about music—when you hear that song that makes you want to stop your car and makes you want to start crying or whatever. To me, it’s never about the hi-hat sound, not even about the guitar. It is always about the story, and the way that the person is telling that story.

Are you fussy about microphones?

Yeah. When I learned about engineering, I did have my favorites. The reason I have seven studios is that I have so much gear that I don’t know where to put it. I might just as well put it all to work.

You went through that whole phase as a producer experimenting with sounds?

Interestingly enough, it’s been a long time since I’ve done any work with David Foster, but I used to be up working in his (Malibu) studio. He’d say, “I don’t understand why you are doing all this. Why are you putting that backing vocal through that distortion pedal, and a space echo and making that weird sound? Nobody is going to hear that. People only care about the lyric and the vocals.”

I used to think, “What a boring way to make records.”

Now, in retrospect 10 years later, I can see what David meant. To me, (production) is a balance. To me artistry is a holistic thing. It’s what you are saying, it’s who you are; artistry is not only the music. It’s so much more than that. Sound definitely can compliment or paint (a track). It is like having a different set of colors to work with. But I do think if you talk about what makes a record successful—what makes it connect with people, at the end of the day—it always boil down to the way that the lyrics and the vocal content are presented. What makes people just hear it on the radio, and go, “Wow! That’s a amazing song.”

A majority of people today first hear a piece of music on a MP3.

That probably proves the point even more. People will hear a great hook, and they will remember it whether it’s on a set of computer speakers or not. That’s depressing, obviously—knowing that you spend all this time making a great sounding record then most people are going to listen to it on bad systems or on a computer system. But you can’t think that way. You just have to realize that, “There are a few thousand people that are going to buy this on vinyl.”

Larry LeBlanc is widely recognized as one of the leading music industry journalists in the world. Before joining CelebrityAccess in 2008 as senior editor, he was the Canadian bureau chief of Billboard from 1991-2007 and Canadian editor of Record World from 1970-89. He was also a co-founder of the late Canadian music trade, The Record. He has been quoted on music industry issues in hundreds of publications including Time, Forbes, and the London Times. He is co-author of the book “Music From Far And Wide: Celebrating 40 Years Of The Juno Awards.


Industry Profile Archives:
Mick The DJ, DJ/Enterpeneur 04/30/15
Jeremy Lascelles & Robin Millar, Blue Raincoat Chrysalis Group 12/01/17
Joanne Abbot Green, CMJ Music Marathon and Film Festival 10/17/08
Lee Abrams, XM Satellite Radio 11/28/03
John Acquaviva, Fund Manager, DJ and Serial Entrepreneur 07/09/15
Jay Boy Adams, Roadhouse Transportation 05/04/07
Jamie Adler, Adler Entertainment Group 05/11/07
Gary Adler, National Association of Ticket Brokers 12/04/13
Rodney Afshari, Freeze Artist Management 03/01/02
JC Ahn, VU Entertainment 04/10/13
Steve Alaimo, Vision Records & Audio Vision Studios 05/26/06
Jaye Albright, Albright & O'Malley Consulting 07/19/10
Randy Alexander, Randex Communications 10/12/07
David Alexander, Sheer Publishing 07/21/16
Eva Alexiou-Reo, FATA Booking Agency 05/14/15
Marcie Allen, Mad Booking 12/14/00
Jeff Allen, Universal Attractions 08/16/02
Marcie Allen, MAC Presents 06/05/09
Marcie Allen Cardwell, MAC Presents 12/21/07
David Allgood, Bama Theatre 01/03/11
Patrick Allocco, AllGood Concerts 10/05/07
Michele Amar, French Embassy 05/26/16
Mike Amato, Rok Tours International 02/02/07
Jeff Apregan, Apregan Entertainment Group/Venue Coalition 09/30/15
Billy Atwell, AMP Studios 12/13/07
Bob Babisch, Milwaukee World Festivals Inc. 04/02/15
Tom Baggot, 05/02/03
Stephen Bailey, EPACC & Deleware Center For The Arts 02/06/04
Cary Baker, Conqueroo 05/11/11
Vince Bannon, Getty Images 07/05/11
Phil Barber, Barber & Associates 02/04/01
Camille Barbone, WineDark Records 12/09/05
Erin Barra, Musician/Producer/Educator 07/10/14
Ben Baruch, The Fox Theatre 09/27/08
Ben Baruch, By Larry LeBlanc (CelebrityAccess) 04/05/17
Paul Bassman, Ascend Insurance Brokerage 08/03/16
Adam Bauer, Fleming, Tamulevich & Associates 02/15/02
Ed Bazel, That's Entertainment International 10/05/01
Joachim Becker, ZOHO Music L.L.C. 01/12/07
Howard Becker, Comet Technologies 05/02/11
Mark Bego, Author 06/15/07
Jim Beloff, Flea Market Music 09/20/10
Richard Bengloff, The American Association of Independent Music (A2IM) 09/12/13
Seth Berg, South Bay Music 01/30/09
Aimee Berger, 2 Generations SPA Music Management 09/24/04
David Berger, Future Beat 10/29/14
Barry Bergman, Music Managers Forum 03/14/03
Steve Bernstein, Relix LLC 09/30/05
Mark Berry, Attack Media Group 04/07/07
Scott Billington, Rounder Records 01/17/12
Jeffrey Bischoff, Cinder Block 03/24/06
Sat Bisla, A&R Worldwide/ Musexpo 03/29/10
Nina Blackwood, Sirius Satellite Radio 07/14/06
Adam Block, Legacy Recordings 11/07/13
P.J. Bloom, Neophonic, Inc. 01/24/11
Rishon Blumberg, Brick Wall Management 06/27/03
Justin Bolognino, Learned Evolution, and The Meta Agency 04/25/13
Steve "Chopper" Borges, Total Pro and Borse Techos 03/03/06
Les Borsai, Mediocre Management 01/30/04
Shane Bourbonnais, Live Nation Canada 03/21/08
Jeff Bowen, Sears Centre Arena 03/13/08
Rick Bowen, Mystic Music Experience 07/11/08
John Boyle, Sanctuary Music Group 03/19/04
Jeff & Todd Brabec, Writers/Attorneys 01/03/12
Bill Bragin, Joe's Pub at the Public Theater 08/08/03
Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
Ron Brice, 3rd & Lindsley Bar & Grill 06/08/16
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Bob Brumley, Brumley Music Company 02/17/16
Tony Brummel, Victory Records 05/17/09
Charlie Brusco, TBA Entertainment Corporation 10/13/01
Del Bryant, BMI 05/18/07
Cortez Bryant, Bryant Management 12/06/10
Stephen Budd, Stephen Budd Management 07/13/17
Bruce Burch, University of Georgia Music Business Program 10/09/09
Deborah Burda, Kentucky Exposition Center 08/03/07
Patti Burgart, IEBA 06/07/02
Jordan Burger, The New Musiquarium 01/22/01
Ron Burman, Roadrunner Records 08/25/06
Suzanne Cadgene, Elmore 05/19/06
Karen Cadle, KGC Productions 03/12/04
Gary Calamar, KCRW 07/10/09
Charles Caldas, Merlin 07/05/10
Brian Camelio, ArtistShare 02/29/08
David Campbell, AEG Europe 08/02/10
Tom Cantone, Foxwoods Entertainment Group 10/20/00
Tom Cantone, Foxwoods Resort Casino 07/03/03
Tom Cantone, Mohegan Sun 08/30/09
Ashley Capps, A. C. Entertainment 05/21/04
Rio Caraeff, Vevo 07/12/11
Mike Carden, Eagle Rock Entertainment 08/16/11
Charles Carlini, Carlini Group 05/16/08
Mark Carpentieri, M.C. Records 05/27/05
Mark Carpentieri, M.C. Records 01/10/11
Troy Carter, Coalition Media Group 06/07/10
Daniel Catullo, Coming Home Studios 06/22/08
Raffi Cavoukian, Folk Singer/Children's Entertainer 05/11/16
Jeffrey Chabon, Chabon Entertainment Group 08/22/02
Mike Chadwick, Essential Music & Marketing 08/01/12
Rob Challice, Coda Music Agency 03/27/13
Tom Chauncey, Partisan Arts 01/11/02
Tom Chauncey, Partisan Arts 10/04/11
Lisa Cherniak, Artists Against Racism (AAR) 07/20/01
Bob Chiappardi, Concrete Marketing 06/13/03
Joel Chriss, Chriss & Co. 10/04/02
Michael Chugg, Michael Chugg Entertainment 09/14/01
Michael Chugg, Chugg Enterprises 10/02/09
Gary Churgin, Harry Fox Agency 09/13/10
Vinny Cinquemani, S.L. Feldman & Associates 12/13/12
Barry Coburn, Ten Ten Music Group 03/28/11
Matthew Cohen, Green Room Productions 10/19/01
Ted Cohen, TAG Strategic 01/10/13
Lisa Cohen, Associated Booking Corporation 02/10/06
Steve Cohen, Music + Art Management, Inc. 03/09/07
Dan Cohen, Music & Memory 01/12/17
Michael Cohl - Part 1, S2BN Entertainment 03/06/13
Michael Cohl - Part 2, S2BN Entertainment 03/13/13
Bryan Coleman, Union Entertainment Group 02/14/12
Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
Allen Cook, TOURtech 04/16/15
Tomas Cookman, Cookman International 09/05/03
Alex Cooley, Alex Cooley Presents 07/12/10
David Cooper, 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
Ruth Daniel, In Place of War 08/09/17
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denver’s Division of Theatres and Arenas 08/23/10
Paolo d’Alessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Andrea Johnson, ICM Partners 11/02/17
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Elliot Lefko, Goldenvoice 09/21/17
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Jack Ross, APA Canada 09/07/17
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Jonathan Shank, Red Light Management 12/13/17
Peter Shapiro, Ideal Entertainment 04/16/04
Peter Shapiro, Dayglo Ventures/Brooklyn Bowl 11/15/17
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Deb Suckling, SUGARRUSH Music 07/27/17
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Adam Tobey, Concert Ideas 08/24/17
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Marsha Vlasic, Artist Group International 05/31/17
Mat Vlasic, Bravado 06/28/17
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Lisa White, Pearl Street Warehouse 10/04/17
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Jason Zink, Emporium Presents 10/19/17
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06


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