Industry Profile: Mike Carden

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Mike Carden, president of North American Operations, Eagle Rock Entertainment.

Mike Carden knows more about music video than anyone you can name.

He also is an astute judge of musical talent, and business potential, and he knows retail, marketing, distribution, artist management, and about A&R.

Over close to a decade, Carden, the New York-based president of North American Operations, Eagle Rock Entertainment, has expertly overseen releases of documentary or live performance titles by such acts as Jeff Beck, the Doors, Talking Heads, Eric Clapton, Usher, Miles Davis, the Who, Deep Purple, Queen, the Rolling Stones, Pink Floyd, Alice Cooper and others across all media.

Eagle Rock Entertainment, an international visual and audio rights acquisition, and exploitation company, has offices in London, New York, Los Angeles, Toronto, Hamburg and Paris.

Eagle Rock’s roots stretch back to U.K. music catalog specialist Castle, Communications, which Terry Shand—Eagle Rock’s executive chairman and CEO—co-founded in 1983, and sold to Alliance Entertainment in 1994.

Prior to Castle, Shad had been involved in independent distribution in Britain as sales and marketing director of Stage One Records.

Over the years, Castle developed a formidable record business, and diversified into the feature film business. In the late '80s, the company bought the Pye, Bronze, Immediate, NEMS, Sugarhill and Solar catalogs.

As the independent film business imploded at the end of the '80s, Castle was retooled as a record company and as a sell-through video business with titles by the Backstreet Boys, Pavarotti, and Belinda Carlisle.

Shand launched Eagle Rock in 1997, taking the key members of his Castle team with him. In fact, he took the entire visual division of 22 people. However, he had to start his record division from scratch. He recruited Lindsay Brown, now Eagle Rock U.K. MD, and signed up Earth Wind & Fire, and the Stranglers.

Eagle Rock soon had a U.S. office in New York, local marketing offices in France and Germany, and representation in Scandinavia. Its early network of distribution partners included BMG and Warner Music.

Meanwhile, the company developed two frontline record label operations, Eagle Records and Spitfire Records. Eagle was home to albums by established acts; while Spitfire, headquartered in New York, was a hard rock and metal imprint.

Carden has worked in many facets of the music business, from retail and distribution, to independent and major record companies.

He began his career in music retail in New Jersey, and moved on to working at regional one-stop distributors in the ‘70s; to WEA Distribution in the early ‘80s; and to Malvern Distribution until 1987.

Carden hit music industry prime time when he became Atlantic Records’ North East Regional sales head. This was followed by Carden being head of sales and marketing at Atlantic’s affiliated label imprint, East West Records.

By the new millennium, East West Records would be mothballed; its acts shifted to Elektra Records; and Carden had returned to Atlantic as national dir. of Sales/National Accounts.

This was followed by a short stint as general manager at CMC International, an established-artist label, acquired by Sanctuary Records Group in 2000.

Carden was initially hired on as a consultant to Eagle Rock Entertainment in 2001. Impressed with his experience, and his management skills, the company made him GM of Spitfire Records, and Eagle Records. After Carden became president of operations in North America, and executive VP of the company in 2003, he consolidated the audio and video portions of the company.

In building up Eagle Rock Entertainment in the U.S. marketplace, Carden successfully pushed for it to be one of the first music companies to move into the high definition DVD arena by utilizing Blu-ray technology—Eagle Rock is now one of the largest holders of hi def music and documentary rights in the world—and he now is vying to lead the way with 3D music video releases.

What’s happening with the music video market? It was supposed to die three years ago when sales dipped so sharply but the sector has proven resilient.

This is a huge generalization, but people decide that if someone says, “The sky is falling,” than it must be. A lot of people jump on that, and you end up going over the cliff. What (really) happens is that—with sales declines—we refine our business because it is our business. We are 13% or 14% of the market. Why are we that? Because we concentrated on it, and made it our own, and it is our own. Is it easy? Absolutely not. We are market leaders 99% of the time in price and in deals and product offerings. It’s pretty obvious that we are. Our chart position for the past year has been seven or eight titles in the Top 50. Last week, we were 13.24% of the U.S. market.

Half of Eagle Rock Entertainment’s business is in the U.S.?

I would say that it has to be close to that. The big element of Eagle’s business-–and I’m not sure how aware anyone is about it—is television, theatrical and other means of exploitation. We have a tremendous television sales department out of the U.K. that gets worldwide placements on TV for us. That, of course, sometimes constitutes the main market driver. It’s an interesting element to have.

The music video market now consists of so many ancillary platforms. People overlook that.

I know that they do. The interesting thing is that is what we do. We can monetize our projects, and our opportunities on a couple of different platforms. It’s not just the DVD that has to do well. It’s not just the DVD that has to do well in North America. The DVD can do well in many countries in the world; and the DVD can do this business on downloading and streaming. It can do business on TV. There are a lot of other businesses—potentially—out there.

Are these aspects of the music video business that the labels overlooked?

It isn’t that they missed it. It is that they don’t concentrate on (music video). It’s not their thing, and they don’t have the dedicated staff.

Their 360 deals will include video rights.

And you know what? A lot of times we can go in, and make a deal to do (a release) with them. And we do.

You came to Eagle Rock in 2001 to oversee the audio division. Over the years, audio has been pushed back at the company.

A little bit. I think what you would say is that we focus on video. The audio is there, but it’s not necessarily our business. I don’t want to compete with Atlantic or Sony or Epic for breaking artist titles that are going to cost me a fortune. I can’t throw 10 up, and hope that one sticks. It’s not going to make my business model work. So that’s one of the primary reasons. We do the live (CD) element to a (DVD) release. If we are doing the visual, we will do the live. We have a great relationship with Deep Purple. So if Roger Glover comes out with a new album, we’ll want to do it—that kind of thing.

[Eagle Rock will release Roger Glover’s new album “If Life Was Easy” in Sept. 2011]

Instead of cannibalizing music DVD sales, don’t Netflix and other online video services offer Eagle Rock some new business opportunities?

Sure, if you are playing it right. By that, I mean timing your releases properly, and adding, and taking away little bits and pieces to make everything interesting, and unique. There’s business to be done all around. I have never really bought into the concept of the cannibalization thing anyway. If you are playing it right, the fan will still want it. I think that the fan will still buy it in a finished good configuration. They might want to see it before. They might want to view it on Netflix or something. But (a music video is) not like a movie. You watch a theatrical movie once or twice, and you are done with it. It will stay on the shelf. Forever. You watch a music video, and if you like the format, you will play it for friends; you will play it again; and you will play it at parties.

In recent years, every record label has seemed to be packaging full-length concert videos with CD releases which some say cannibalize sales of new music video product.

Then the (labels) played all of those games, calling it a DVD on release, but it was really a CD with only a bit of DVD content. They didn’t stay true to (the music DVD) as itself. In other words, it wasn’t, in fact, a DVD. It wasn’t a full-fledged, respectable DVD with great quality images and sound, and well thought out content and bonus features. That’s what we do every single time. The only time that that we end up (not doing that) is when the content is of such a historical nature; that, even though it’s a bit sub-standard—by peoples’ impression of standard—it just begs to be put out.

For instance, we are just doing a project now with (music video producer) David Peck. David came up with some great master tapes on Ray Charles live from 1961 in France. It’s black and white, but it is absolutely gorgeous footage, beautiful looking, and beautiful sounding. It is part of Ray’s career that we thought was a special moment, and should be showcased properly. So we are going to take that, and not only putting out the absolutely best standard def master that we can end up with from it, we are probably putting out a black and white HD of it sometime next year.

In 2008, Eagle Rock changed its American distribution to Fontana Distribution for music DVD titles, and to affiliated Vivendi Visual Entertainment for non-music DVD titles.

It is a great relationship. I have had a relationship with Jim Urie (president of Universal Music Group Distribution) for 30 years. He was very passionate about (the deal). He came to us at MIDEM, and wanted to talk about the possibilities. He was ramping Fontana up, and felt that we would have a good fit. We had a couple of meetings. It wasn’t, “Hi. How are you? Where do I sign?” We talked long and hard about it. Part of the deal was that they showed up with the right relationship perimeters, and the right guarantees of ongoing support.

That was important because your business is a heavy acquisition business.

We spend a lot of money on great assets and it takes a lot of money to float the boat. And the boat isn’t always sailing but it has to be floating.

How many titles in the catalog?

Almost 700 DVDs, and close to 200 titles in the audio catalog.

Eagle Rock has done well with DVDs by such musically credible acts as Jeff Beck, the Doors, and Peter Gabriel.

Yeah, and that fan base, if we can make them aware that (a DVD) is available, they will buy it. We have proven that. We have taken Jeff Beck from a spot where his records were interesting, and were out there and doing okay, but he really transcended when we hit with “Live At Ronnie Scott’s Jazz Club” (released Nov. 2008). We got a great, great profile going with Jeff with that. It was just at the right moment when he was just going out on tour. Everything clicked. It’s like timing is everything.

Jeff’s “Rock 'n' Roll Party” DVD honoring Les Paul is even better.

The Les Paul video is great. It’s our own production. My name is on the back.

[“Rock 'n' Roll Party” was recorded at the Iridium Jazz Club in New York where Les Paul played almost every week until his death in August 2009. It was recorded on June 9, 2010, which would have been Paul's 95th birthday. Beck is joined by Imelda May and her band, as well as Jason Rebello, Brian Setzer, Trombone Shorty, and Gary U.S. Bonds.]

You don’t tend to seek pop superstars like Britney Spears and Beyoncé for DVD releases. Of course, they would want big money.

I know. This will sound really pretentious and cocky, but they are less meaningful to me than the next Jeff Beck, Eric Clapton or the next Van Morrison. I will tell you why. These (pop) people are making a tremendous amount of money; and selling a lot of records. I don’t think they are going to sell a lot of DVDs. We have been asked to make an offer on Britney Spears, and we haven’t.

Why not? Because pop acts are all over the visual media already?

Yeah, and their audience is not necessarily receptive to a DVD. Also even if you do it, the (production) costs are so high, and you have to sell it so low (in the marketplace) that it’s a waste of time.

Anyone can sell a Miley Cyrus DVD depending on what level.

And what week it is.

I think a Lady Gaga DVD would do well.

I do too. We have made some forays into a conversation with Lady Gaga, and Interscope, and we haven’t gotten anywhere. But that’s a target for us. There’s been a lot reasons for her to do what she did to get herself out there, and get her substance known. She’s done that and, to me, she’s done it smartly. I don’t think that she had done anything that she shouldn’t have done. She has been marketing a thousand percent of herself. She’s been talking a lot, but I haven’t seen any nastiness. I’m really impressed by how far she’s gotten.

It’s about timing.

Especially with pop and new rock (releases), it’s about timing. Everything is timing. That’s all of it. We did Usher just after his big album (“8701”) and (the DVD) sold tremendous numbers. We’ve just done another Usher (“OMG Tour Live at The O2 London”) that is coming out in the 4th quarter too.

[Eagle Rock promoted "Usher: Live—Evolution 8701" in theaters in 2002.]

Rap and hip hop on DVD?

Very difficult. Our first big record was "The Up in Smoke Tour" (a 2001 release which was culled from the 2000 rap tour) but that was the moment Dr. Dre was showcasing Eminem. We have done things since with (with rap and hip hop), and just fallen flat on our faces.

[“The Up in Smoke Tour” tour in 2000 featured performances by Ice Cube, Eminem, Proof, Snoop Dogg, Dr. Dre, Nate Dogg, Kurupt, D12, MC Ren, Westside Connection, Mel-Man, Tha Eastsidaz, Doggy's Angels, Devin The Dude, Warren G, TQ, Truth Hurts and Xzibit.]

You are such a huge music fan.

I love music. That’s why I started doing this. It wasn’t the money. There wasn’t any money. I often say, “Get this. They pay me to do this?” Today, I was watching videos. We just did an Owl City recording. The band is really good. Not that I didn’t know it was good, but I kind of took a shot, honestly. John Rubey called me, said that he was recording Owl City, and asked what I knew about the band. “Not a hell of a lot. Tell me.” He told me who and what they are. I looked at YouTube, and some other stuff, and we made a deal, which was a pretty good deal based his needing to do it, and mine—which was needing good repertoire. We recorded it and, you know what? The show is fantastic. The guy (singer-songwriter and multi-instrumentalist Adam Young) is really good. He’s that good.

What else is coming up this year?

It’s not all 100% firmed up, but we have Peter Gabriel—that is firm. We shot Peter Gabriel at The O2 in London. That is an original production. We are redoing all of the Monkees’ TV episodes. That is coming out. We licensed them from Rhino. They haven’t had them out for a while, and we thought there was a real opportunity. We are working on (releasing) some big acts, but they aren’t 100% ink on paper, so I can’t comment.

Did last year’s enormous success of the Doors’ documentary “When You’re Strange” surprise you?

No, it really didn’t because it was so good. I am looking at a couple of things now (by the Doors) and they are just so good. I was compelled to do (“When You’re Strange”) even though it wasn’t 60-70% music—there’s a lot of documentary content there—but it’s so compelling, and so good that we just felt that we were going to be successful.

[At the 53rd annual Grammy Awards on Feb. 13th, 2011, “When You’re Strange: A Film About The Doors” won for “Best Long Form Video.” The documentary is an account of the Doors’ history, from their 1966 inception to lead singer Jim Morrison’s passing in 1971.]

You personally didn’t receive the Grammy for “When You’re Strange.”

It was (producer) Jeff Jampol and two of the guys who worked on it previously. (Doors’ guitarist) Robby Krieger himself said, “C’mon Mike, c’mon onstage.” That’s enough for me.

How much of the Eagle Rock catalog is exclusive content?

About 90%. There are two kinds of exclusivity. We have found archives that have never been out before or are in peoples’ private possession that have never been out before; and there are things that we go out and shoot—so two different things.

How much has Eagle Rock developed itself?

The things that we go out and shoot? It varies. Some years we shoot 10 or 15 projects. Some years not that many. I would say that, probably, 30% of our catalog is stuff that we have shot over time.

One reason for the 2008 plunge was that the lengthy format war between Sony and Philips' Blu-ray, and Toshiba's rival HD DVD confused customers.

It hurt. It took a plus and turned it into a bit of a minus. That market has still not recovered at this point. That marketplace should be completely dominating sales, the HD and Blu-ray market. Let’s just call it the HD market for now.

It really hasn’t.

No it hasn’t. I was at CES (International Consumer Electronics Show) the year (2004) that they announced all of this because I was really involved with all of the guys from the manufacturers, Toshiba, Panasonic and all of those guys. As matter of fact, they wanted me to be on that Blu-ray board that they had. I just couldn’t see it because I wasn’t ready to plop down on one side of the line or the other. I thought that it was a huge mistake that a line was going to be drawn because it created the kind of confusion among consumers, “What is this? I don’t understand.”

[The Blu-ray Disc founder group was launched in 2002 by The Massachusetts Institute of Technology (MIT, and nine leading electronic companies: Sony, Panasonic, Pioneer, Philips, Thomson, LG (Lucky GoldStar) Electronics, Hitachi, Sharp, and Samsung.]

All of this was a replay of the JVC’s VHS and Sony’s Betamax video format war of the ‘70s. Many people maintain that on technical merits Betamax was superior to VHS on picture quality, tape wear, system design and convenience of use. By 1980, however, VHS controlled 70% of the North American market.

Betamax and cassettes and 8-track. It goes on and on and on. And it always will.

Don’t forget mini-cassette, DAT, and quadraphonic—the surround sound of the ‘70s.

You can keep going. The problem was that you could see that (Philips' Blu-ray and Toshiba's HD DVD rivalry) coming. They telegraphed it. The bottom line is that HD had a lot of things to offer and the Blu-ray had a lot of things to offer. But the important thing about HD was that it was a lot cheaper to offer, and it was a lot easier to deal with on (some aspects of) quality control, but the problem was that it wasn’t quite the quality overall.

So we didn’t see any traction in the marketplace

Do you know why? They lost it when they started it out that way. They’ve never gained it back. People were so reluctant. The funny thing is that, over this time, everybody and their brother has come to us wanting 7.1 (7.1 surround sound: the common name for 8-channel surround audio), and they want to do 3D. We just did 3D with Peter Gabriel. Everybody is asking me, “What do you think of 3D?” The thing that resonates with me with 3D is that the manufacturers are now going at 3D as just another aspect of hi def—another option in hi def. To me, as long as you have to wear the glasses, that’s all it’s ever going to be.

[Peter Gabriel’s upcoming “New Blood 3D” release features a live concert performance filmed March 23, 2011 at London’s Hammersmith Apollo with Gabriel accompanied by a full orchestra. The Eagle Media production was directed by Blue Leach whose credits include tours for Snow Patrol, R.E.M. and Toto, and it was co-produced by Gabriel’s company Real World. Eagle Rock will distribute the release in Oct. 2011 across 3DTV, theatrical, digital, DVD and Blu-ray platforms in all territories.]

Eagle Rock Entertainment was one of the first music companies to move into the hi-def DVD arena by utilizing the Blu-ray technology, and you have one of the big holdings of HD music and documentary rights.

We do, and we’re blazing this trail in 3D but we’re doing it the same way. As I said before, we don’t look for what we can do to just jam something out there. We look for the right stuff. If we get an opportunity for an artist like Peter Gabriel, who is really excited about the format, and who is more than willing to create something totally unique, we’re interested. If we just got the opportunity to shoot something cheap and we could just throw it out there, I wouldn’t want to do it, frankly.

Consumers are already turned off by all of the crappy and cheap DVD product available.

You characterize it correctly. There are many things that we could have put out that the artist’s name, and the time period of piece, sounds great. We get the available asset and it turns out to be so sub-standard as to be worthless. It’s a shame. We are always depressed about it, but they would have made a great project.

We work, of course, with Montreux (the Montreux Jazz Festival), and there are things from their archive that were on Swiss TV. We do things with Rockpalast (the German music television show broadcast on German television station Westdeutscher Rundfunk). We just picked up a couple of titles from Rockpalast and one of them is Rockpile. I love Dave Edmunds. I just always thought Dave Edmunds was great.

[Eagle Rock Entertainment presented the first series of DVDs from the archives of the Montreux Jazz Festival in 2004. The titles included live performances by Curtis Mayfield, Marvin Gaye, Earth, Wind & Fire, Charles Mingus, Gary Moore & the Midnight Blues Band, Emerson, Lake & Palmer, Al Di Meola and Shane MacGowan & the Popes.]

In picking up archival stuff, Eagle Rock has to insure that all rights are cleared.

Well, that’s our second biggest concern (following quality of content). It could be more aligned to our biggest concern because the fact of the matter is that the rights clearance is the next thing on the agenda. If we can’t clear it, we aren’t even going to bother. That’s it. It has to meet all of the initial (quality) criteria. Then it has to meet that criteria of being able to be cleared. That is a simultaneous judgment call, I think.

There have been concerns over legal issues of releasing videos in Wolfgang’s Vault archives.

Well, it does concern us. We talked to them. The fact is that they couldn’t show us anything other than an incredible job of work that needed to be done to try and clear this (video) stuff. They have incredible stuff there but, without being able to clear it, I wouldn’t say that it’s worthless but close to because we won’t do anything that there is any kind of legal question on. We won’t do it.

How about the Jeff Healey Band’s new release on Eagle Rock North. There have been claims from his widow that….

Yeah, that’s what she said. From what I understand, she made all her assertions in court, and she lost. We looked at that before we made the final deal. Once we were told by all of our attorneys that, in fact, she lost and there were no rights situations with her on her side of it, that it belongs to this guy, we then went forward.

[“It is absolutely untrue to say I made my assertions in court,” says Jeff Healey’s widow Cristie. “The rights to the Jeff Healey Band material are still in question. There was no ruling that I have no rights to anything. It has never been to court.”

In 2009, Winnipeg-based label Arbor Records released “Legacy: Volume One,” a collection of previously unreleased music by the famed Canadian guitarist and musician, and his band. After Cristie Healey criticized its release in the media, Arbor announced plans to sue her, Toronto publicist Richard Flohil, and former Toronto talk-show host Bill Carroll.

However, these cases have yet to reach court.]

Why start a Canadian imprint?

For a lot of reasons. The Healey stuff is Canadian. There is such a huge archive of this completely Canadian content. We are very friendly with Randy Lennox (president/CEO, Universal Music Canada); with Universal Canada; and the guys from Conveyor. Peter Piasecki and I have been talking. We licensed them some things for Canada, including “Blood Ties” and things like that over time. So the conversation came up, “How do we take advantage of the opportunities to get some additional funds from FACTOR (The Foundation Assisting Canadian Talent on Recordings) and the other societies in Canada that might help with productions costs, and let us better optimize this catalog—vast amount of material—that is sitting there.”

Do you have other releases planned?

Oh yeah. There’s a veritable archive of material there. There’s some out-take stuff from over the years from various parts of Jeff’s career. There are three or four great shows on video. There’s a lot more.

[In June, 2011 Eagle Rock Entertainment announced a collaboration with Conveyer Canada/Convexe Entertainment on a new imprint, Eagle Rock North. The release of “The Jeff Healey Band Live at Grossman’s” on June 14th, 2011 is the inaugural release under the agreement with other releases forthcoming. Eagle Rock North is headed by Conveyer Canada owner Peter Piasecki.]

Did you know Terry Shand, and Lindsay Brown before joining Eagle Rock?

I had met Terry back in the Castle days. Lindsay was at Polydor for years (including as international director at Polydor U.K.). It’s interesting that years back, I went to work for WEA because the Polydor/WEA merger was right on the horizon. My friends at Atlantic brought me in there and said, “You’ve got to get in here. You’ve got to establish yourself on the WEA side. It’s all going to change in three weeks.” We know how that worked out.

[Warner Communications and PolyGram began discussing a merger of their record businesses in 1983. The proposed merger was opposed by both the German Cartel Office, and the U.S. Federal Trade Commission for its potential in reducing competition, and the merger was finally denied.]

Any hesitation in joining Eagle Rock?

Not really. It was interesting because I was going to be at the helm of a great deal of the business being done, and I would be running the biggest territory in the world, North America. It seemed like a real challenge. I thought, “This is great. I get to, hopefully, put it back together.” At the time, Spitfire was suffering. It was almost out of business. Terry, in fact, said to me, “Do you think there is a business there? Come in, be a consultant for six months and tell me at the end of that if there is a business. If there is, we’ll continue it. If there’s not, thank you. You’re paid, and that’s that.”

Considering the disarray of the music industry at the time.

Oh, I know. There was no question that there were reasons why, but I didn’t see that (the disruptions) needed to be profound as they were. Before, it was making decisions without any information. People were signing acts based on that they had three drinks with the guy on Saturday night, and they thought he sounded good. They never looked at the marketplace or if (the artist) had an independent release before.

That was the music business.

I thought, “Oh my gawd, we have to do something about this,” and I did. Then I saw the larger picture. Spitfire was being distributed by ADA, and it was (operating) all by itself with an entire staff, backroom, finance, everything. Eagle Records was run by a company here in the U.S. called red ink (a label partner of RED Distribution). They took a higher percentage, and they ran it though. (red ink senior VP/GM) Howie Gabriel did a fine job. But here was a second part of the company, (audio) that ran as one company in Europe, but it was part of another company here. Then there was (video division) Eagle Vision. So there were three separate companies doing basically one thing: putting out projects to the same marketplace, and to the consumers. That made zero sense to me.

[Both Eagle Records and Spitfire Records built their early success on high-profile releases by veteran artists. Eagle Records had major international success with Alice Cooper, Ronnie Dio, and Deep Purple. Spitfire was founded in the U.S. in 1999 as the company's hard rock and metal imprint. The company signed on Zakk Wylde's Black Label Society and Testament early on, and also developed an extensive catalog by obtaining rights to older titles by Twisted Sister, Deep Purple, and Yngwie Malmsteen. The label also tried to develop new acts, including Sixty Watt Shaman, and Hair of the Dog.]

So you took on the challenge.

I did everything I could to straighten up the systems because there weren’t any. I put some in place, and made it a real company with accountability across departments. Lo and behold, it was a business. We could actually spend less on a release then we made—which is always a good thing. It wasn’t run well. That’s all. When I came, everybody was amenable to working it out, but they didn’t know what to do.

You were with Atlantic Records for many years.

Almost 10 years. I was with WEA before that. When I got to Atlantic, it was with Doug Morris (as president), and Mark Schulman was GM. (Co-founder) Ahmet (Ertegun) was a figurehead, but he was there (in the office) every day.

A great time to be at Atlantic.

It was. I’ll tell you, Ahmet was the brightest guy, and a good guy. I will tell you a little anecdote, and you will see what I mean. I had (ex-Ted Nugent vocalist) Brian Howe in my office. It was when Brian was doing Bad Company. We had released the first Brian Howe Bad Company record (“Fame and Fortune” in 1986). I was taking him over to WEA to present the new record after lunch. Ahmet had been chasing Brian to get a deal with him for a solo album. So we’re walking by the office, and I wave to Ahmet, and he says, “C’mon, c’mon in here.” So we walk into Ahmet’s office. Ahmet says, “You don’t mind if I talk to Brian for a few minutes?” I say, “Ahmet, we have plans, but they can wait.” I got to hear the Ahmet Ertegun pitch to (Brian), “Kid, you really should be thinking of coming with us for your solo career. Look at what we are doing for you with Bad Company,” and blah blah blah. That was very interesting. And that happened often enough.

[Brian Howe, who replaced original frontman Paul Rodgers in Bad Company, wouldn’t release his first solo album, “Tangled in Blue” on Touchwood Records until 1997.]

While regional director at Atlantic Records, you were responsible for breaking Alannah Myles’ hit single, “Black Velvet.”

I really liked “Black Velvet.” There was something that was clicking with me. I was really close with all of my promotion guys. There was a retail store called The Wall in Philadelphia. They had a lot of retail stores throughout Pennsylvania. In some of the markets, they dominated. One of the markets was Harrisburg, Pennsylvania. They had 10 or 15 stores there. My buddy was Frank Sciarra who was a radio promotions guy. He’d call me when he had anything going on with a record. He called and said that this record (“Black Velvet”) was going to hit on Saturday. “What can we do with it at retail? The phones are going to jump off the hook. I just know it’s going to happen.” So I went to my guys at The Wall, and said, “Look we have a new artist, and the single is a smash, it is going to start playing on (local radio) Saturday. We know the phones are going to light up, and the station is going to put it into super heavy rotation,” blah blah blah.

I said, “Take in so many pieces. I will guarantee it. If it doesn’t click, you can send them back. Make sure it is in every one of these stores in the marketplace.” Well, as predicted, the phones lit up; the stores, went crazy; the stores reported that the record was selling off the shelves; and radio went, “We’ve got something.” We upped the ante. We start spreading (the promotion), and it goes to Philadelphia and the rest you know. Off to the races—record company 101.

[Alannah Myles’ “Black Velvet” was #1 for two weeks on Billboard’s Hot 100 chart in 1990. It was the most played song on American radio for 1989 and 1990. In 2000, it was honored with the ASCAP Millionaire Award for having received over five million airplays at U.S. radio. "Black Velvet" won Myles a Grammy Award for Best Female Rock Performance in 1991.]

You worked at East West Records.

It was an interesting thing trying to re-invent that independent label off the main Atlantic label connection with Atco, East West, and with Cotillion for a while. What happened was that I had just been put in national sales at Atlantic for national accounts. Doug Morris called me into his office, and said, “Look, we are going to start some new things around here. Would you have an interest in doing something with another label that we are going to put together. It’s a historic label.” He kind of laid it out. I said, “Sure, I’ll talk about it. Why not?” I met with Sylvia (Rhone). She liked what I had to say. So she brought me over there. It was like a transfer over to the next building.

[East West Records, an unsuccessful Atlantic off-shoot label from the ‘50s, re-emerged in 1990, when Atlantic revamped the imprint as East West Records America headed by Sylvia Rhone.

East West’s roster included Simply Red, En Vogue, Pantera, Yo-Yo, Das EFX, Snow, Gerald Levert, AC/DC, Dream Theater, Missy Elliott and MC Lyte. It distributed Interscope Records (Atlantic owned 53% stock in the label). By the new millennium, East West Records had been shut down, and its acts shifted to Elektra Records.]

In 2004, you were responsible for worldwide release of Yusuf Islam’s DVD, “Cat Stevens: MajiKat: Earth Tour 1976” which benefited his charity organization, Small Kindnesses that rescues war orphans in countries like Kosovo, Bosnia, and Iraq.

The drought-caused famine in five Somali regions must be heart-breaking for you.

It is an absolute tragedy. I don’t know what the West is ever going be able to do about that. We are in trouble too. I saw the President put up $105 million for (new) aid over there. I am glad that happened after all that has happened with Somalia and the (famine-stricken) province in Mogadishu (the fighting, and theft of food aid) has really left a really negative taste on a lot of peoples’ palettes. We are trying to give aid and the warlords, and local gangs (there) have kind of created hell on earth for the U.S. and the international forces there trying to help. The Somalian pirate thing doesn’t exactly endear everybody (in the West) to that area either.

The West has provided aid over the years to needy territories but it also largely ignored what happened in Sarajevo, and Kosovo and certainly ignored the genocide in Rwanda in 1994.

We turn a blind eye to a lot of things. We do. I’m not going to point strictly at the United States.

You and your wife have adopted orphans?

Yes. All three of my kids are. The oldest boy is from Moldova, which is part of the Soviet Union, and part of Romania over the years. It is between Romania and the Ukraine. The other two are from Russia proper. The girl is from a town in the southern Urals called Chelyabinsk; the other boy is from Yennessie in Siberia.

A lot to take on.

I have to say the fact of the matter is it was for me as much as it was for them. My wife and I felt very strongly about having children. My ancestors are part Russian. I was of an age where it was tougher and tougher to think that I could put something together with a U.S. adoption. The only other affinity that I had—cultural affinity—was for Russians. They like to say that Russia is more like America than any other country. In certain ways I believe it. It is the European Russian foundation that I feel a kinship with. That’s where my ancestors (on my mother’s side) were from.

From what area?

Moscow. My grandfather was Alexander Freyman. He came to America in the 1890s. My two uncles, and my aunt were born in Russia. One other aunt was born here in the U.S., and my mother was born here.

How about from your father’s side.

Irish. There’s a combination, eh?

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.”


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
Jennifer Lyon, MeanRed Productions 01/18/18
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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