Industry Profile: Ros Earls

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Ros Earls, founder & owner, 140dB Management.

London-based Ros Earls must have a skip in her walk today.

Her long-time client and friend Flood (aka Mark Ellis), along with Alan Moulder, won the coveted UK producer of the year honors at the Music Producers Guild (MPG) Awards which took place on Feb. 13th (2014) at the Park Plaza Riverbank Hotel in London before a crowd of music industry VIPs, and celebrities.

The pair—which automatically win the 2014 BRIT Award for best producer-- produced Foals' album “Holy Fire” which also beat James Blake and Laura Marling to win for top album.

It was a triumphant night for Earls, founder & owner of London-based 140dB Management, who started in the British music industry at virtually its lowest rung in the ‘80s.

She was the receptionist and then manager of Sarm Studios before moving to Trident Studios where she met Flood. A conclusion that neither studios nor their equipment were what made recordings so great--that it was the production personnel behind them---led Earls to leave Trident and to decide to focus on managing producers, engineers, and mixers.

140dB Management was launched in 1987 from her coffee table at home.

Today, the firm has three full-time employees, and a top-flight production roster that includes: Flood, Dave McCracken, Gil Norton, Steve Osborne, Ben Hillier, Joe Hirst, Rob Kirwan, Johnny Dunne, Fiona Brice, Dan Austin, Andy Savours, Danton Supple, Guy Massey, Neil Comber, Dimitri Tikovoi, and Ed Buller.

Among them. the roster—with Earls’ firm hand in negotiations--has worked on projects for U2, Beyoncé, Erasure, Depeche Mode, Coldplay, Pixies, Smashing Pumpkins, Foo Fighters, Elbow, Doves, My Bloody Valentine, Suede, New Order, Placebo, the Saturdays, PJ Harvey, Sigur Rós and hundreds more.

Flood and Alan Moulder won UK producer honors at the Music Producers Guild Awards this week, Obviously, the two are at the top of their games as recording professionals.

I'm thrilled obviously, and proud. The Foals' album (“Holy Fire”) is an incredible album. Those two are the Dons. They've been making incredible albums both together, and apart for more than two decades, and this award was long overdue.

You actually won a total three awards that night?

Yes. In addition to best producer, we also won best album for the Foals as well as best engineer for Guy Massey for the second time.

[Now in its sixth year, the Music Producers Guild Awards recognizes the contribution made by recording professionals to the success of the UK’s music industry.]

Flood and Alan have only really done a handful of projects together.

They have done, maybe, four albums together although people imagine that they always work together, but they don’t. It’s been the Killers, Nine Inch Nails and so on. They’ve worked on the same record, but not together. The Foals is one of those rare records. They really wanted to do it. (Q Prime owner) Peter Mensch was desperate for them to do it. This is all outside of the label conversations. It was truly a passionate belief by Peter that these guys were the right guys for him. His dream team, he kept saying.

How do Flood and Alan work together?

They do a lot of experimenting (laughing). Flood did some crazy thing (on “Holy Fire”) where I caught him coming into the studio with bags of bones. “What the hell’s that.” He was like, “I had to go to the butchers to get some bones. He promised me some bones because I am sampling bones today.” I asked, “Why the fuck are you doing that?” He was like, “I just thought it was a good idea.” I was like, “Mate, you are mental.”

But Flood and Alan had the luxury (to experiment in the studio). Peter believed in the album, and it was a reasonable amount of time (for recording). You don’t make a quick album with Flood and Alan, but you do make a special one. That’s what, I think, is true of this particular little voyage of theirs down Foals’ street.

When you launched 140dB Management, you first worked from your house?

Yep, for a couple of years. I think it was four years that I worked from home. I was in West Hampstead first of all. Then I went to Camden, and then to Belsize Park. Currently, we are in the middle of Queen's Park. We are fortunate enough to be in the Q Prime Building. Not only a very lovely place to work, but there's good energetic business traffic in the area, and in the building.

You have two staff members?

Yes, Justin Pritchard, and Elinor Gray.

When you launched 140dB Management 25 years ago, Sandy Roberton's Worlds End Producer Management was around. Anybody else doing something similar?

There were two other people doing something similar. There was John Reid, who now manages the Maccabees, who was doing what I did. Starting to manage producers. And, there was Barbara Jeffries, who I admire very much, that had her own company (The Smoothside Organisation which launched in 1987). She still operates. But, it wasn’t commonplace. Now everybody is running a producer management company. I don’t think I have ever met Sandy (Roberton). We have comes across each other a few times. We have called each other a few times, but never met in person.

Was Flood your first client?

Yeah, he was my first client.

You were still working at Trident Studios?

Yeah. He kept pushing me to leave. He kept saying, “C’mon, do it. Do it. Do it.” Of course, I eventually did do it. I jumped. He had said, “I will come with you.” Being Flood--because he’s such a lovely man--he didn’t have the courage to tell the bosses that he was leaving until about six months later. Everybody else did jump. I had 13 clients within a matter of weeks. Mark Stent, and Paul Corkett with some other non-Trident arrivals.

Was Steve Osborne one of those who jumped from Trident?

No. He was still training. He came later. He trained at Trident. He was one of my tea boys. He was from a band background. I remember taking him on, and saying, “Look, I’m not going to take you on if you think you are going to use down time for your own band. That really cannot happen.” Of course, behind my back, they were all doing what they wanted to do. Steve didn’t come right away. He was still training, and then he went off with (Paul) Oakenfold for a bit, and then he came back to me a couple of years later.

Dave McCracken started at Sarm Studios as you did.

He did. Yeah, he trained there. Dave was there after I left. He’s a different kettle of fish (from other producers). He wasn’t going down the engineering route. He came in as a programmer. Always as a composer of music, really.

Traditionally, the UK studio system was formulistic People would start off as tea boys or tape operators and move through the system to become producers. Is that system still in place?

No. Not really. Obviously, those people who went through that system in the ‘80s and the early ‘90s, that would have been how they came up. But these days, everybody thinks they are a producer. Now because of the accessibility of technology, people just imagine that they can produce.

Didn’t you start out as a receptionist at the Sarm Studios?

I went in as a receptionist, and I was promoted very quickly to managing the studio which was then more focused on the sale of studio time. Getting the artists in. I learned that people were the interesting thing (in the recording process).

Then I moved to Trident which is where I met Flood who was the chief engineer there. Between us we brought in one of the best studio teams of that era, including people like Mark Stent, Alan Moulder, Cenzo Townshend and Steve Osborne who all went on to have major careers in their own right.

The ‘80s period of the 4AD, Mute, and Rough Trade labels probably introduced that independent production spirit in the UK.

Yeah, that’s true. In the ’80s, we were concerned with training people. Flood and Allan Moulder were the last of their generation, really, to be trained. They take that very seriously. They are trying to cultivate a (similar) scene at Assault & Battery 2 (studios); trying to create a situation where young people are trained. But what’s happening, at the moment, is that people are paying their own money to train at music colleges to get music production degrees which doesn’t get them anywhere. My own son is 18, and he just started at a music college doing songwriting. That one I understand even though I do think also that songwriting is one of the things that you best learn in situations writing with other writers, and absorbing other writers. That experience is what gives you perspective on the writing.

For decades, UK studios were primarily located near or in London. Today many of the studios are wherever the producer is living.

That’s right. The good thing about having your own studio is that you can attract bands locally. You can be a real support for bands that are local. Also, it doesn’t have to be an expensive process (to record a new band). So if Steve Osborne is developing a band, it can be on-and-off. It can be really helpful in doing something in the early days (of a band), without spending a huge chunk of time. You can spend a week here and a week there. Additionally, we are in a position, obviously, to not charge sometimes, if we want to do something for nothing.

Since the producer is working in-house?

Yeah. We can also be flexible with the rate. It’s awful to say this, but you have to have a bit of a Robin Hood mentality these days. Where you literally steal from the rich to facilitate the poor. I quite enjoy that. We need to have a certain amount of paid work that is properly paid so we can do the things that we are doing--which is development, and supporting artists that are coming through because nobody else is doing that. The managers are not doing it. The labels are not doing it. Even the publishers aren’t doing it, often. When I do a deal, I need to bear in mind if it’s for a major label with the proper (financial) scenario because, at this moment, that is really important for the rest of our business. That’s a pressure that, perhaps, wasn’t there previously. Because 10 out of 10 projects used to be paid for.

How do you view making a deal?

There’s not any one way to do anything. I think, particularly at the moment, it’s the Wild West out there. So the starting point is that you have to feel that when you are walking away that you haven’t driven over someone’s head five times in order to get the deal done. You still have to be there for your client. It’s really difficult to balance time spent against return. So there’s a lots of ways I will deal with that. Some of that has to do with cash. Some of it has to do with back end arrangements. Some of it is has to do with (attaining) a little bit publishing or some other factor.

The general principal has always been not to be the cheapest. Whereas many people get off in getting loads and loads of money off people, that’s not really interesting to me. It’s more about doing well. Getting a good deal. And yet, accidentally, I recently looked back on a couple of deals, and I thought, “How did I do that? That’s a ridiculous amount of money.”

But that isn’t my motivation.

It’s about being realistic; being fair; and doing the right thing for my client. There’s a lot of people that could probably get more money for their clients. I’m probably going to shoot myself in the foot with this observation. There are people probably much more hardnosed in negotiations than me, but I think that it’s really important that you do business in a way that fits well (with both parties) so you can sleep at night.

If you drive a band into the ground with demands…

That’s not interesting to me. You need to be realistic. You need to be supportive. Nothing gives us more pleasure than to be involved with, and to support an artist who is really worth it. I struggle talking about sticking it to an artist. I struggle with making an artist feel like they are going to struggle to keep on top of that (production fee).

Does your company operate in America?

We do. We work all over the place. We do a lot of American work. I’ve always done that. I started working with Nine Inch Nails back in the ‘90s. It was when Nine Inch Nails started to explode on TVT (Records), and there was a huge fallout between (TVT Records’ founder) Steve Gottlieb and Trent Reznor. A very public one. We had all of the major labels chasing after Trent. At that point, he was on that first Lollapalooza tour (in 1991) with Siouxsie & The Banshees, Ice T, and Jane’s Addiction. I was on that whole tour which was incredible. I had started working with their (Nine Inch Nails’) manager John Malm at the time. I used to run the British side of things for him. At that point, I was in America a lot, and I got to know a lot of American labels. I’ve always made a point of getting out to the States, and going out to the New Music Seminars.

You work in an industry that is trying to find a balance between offering fair compensation to artists, and adapting to new business models. The question is will there be a business model that will produce meaningful revenue that will make its way to those creating the music?

That’s one of the main things that has hit us hard over the last few years. We have been lucky enough to make albums that are both commercial, and different. Experimental is not the word--but outstandingly and creatively interesting, and commercial. So Depeche Mode sold multi-millions, Nine Inch Nails sold multi-millions as did U2, and Smashing Pumpkins I suppose, and Coldplay. But there used to be a very healthy middle market (of bands).

Hasn’t that middle market disappeared?

Completely. It’s heart-breaking really. That whole section of music is where we excelled, and we always enjoyed working with the best new bands from there. That whole thing (middle market) has gone. I can see that just from royalties but also from the kind of calls that I am getting.

Working with U2 on “The Joshua Tree” and working on Erasure’s “Circus” in 1987 was certainly pivotal to the trajectory of Flood’s career.


[Renowned producer/engineer/mixer Flood worked at such British studios as Trident, Marcus, and Battery before going freelance in the early 80s. He then worked with New Order, Cabaret Voltaire, Ministry, and Marc Almond, and was associated with Some Bizzare Records and did continuing work at Mute Records with Depeche Mode Nick Cave, Vince Clarke, and Erasure whose debut album “Wonderland,” (1986) and its follow-up “The Circus” (1987) he engineered.

Shortly after Flood’s commercial breakthrough as engineer for U2's “The Joshua Tree in 1987, he co-produced Nine Inch Nails’ debut “Pretty Hate Machine” and worked with Depeche Mode on its most commercially successful album to date, “Violator.” Flood worked again with U2 on “Achtung Baby” (1991), “Zooropa.” (1993), “Pop” (1997), and “How To Dismantle An Atomic Bomb” (2004). He also continued to work with Nine Inch Nails as well with the Killers, Sigur Rós, Smashing Pumpkins, and PJ Harvey.]

The phones started ringing for Flood following “The Joshua Tree” and “Circus” in 1987?

Definitely. The U2 thing happened as I was leaving Trident. That’s one of the things that made me want to leave. Flood was getting called because (of being) Flood. The desk (at Trident) was the SSL that everybody else had. The tape machine was the tape machine. Flood was an in-house engineer, and people were calling me to see whether they could employ his services. The studio wasn’t really interested in (him) so much as making sure the studio business continued. That was a point where producers for the most part, particularly the younger ones, were just part of the studio. They were just another add-on to the studio.

There are producers that became superstars though that’s the wrong phrase if you think of Flood because he’s so far from ever being in showbiz. People didn’t even know what he looked like until recently. He used to hide from any kind of publicity of any kind. I loved that. I admired that about him.

Of course, Flood was building a significant reputation while at Trident.

There were two groups of people who really noticed it. One was Daniel Miller at Mute (Records), and the other was U2. Those two groups of people could see what he had. That he had something magical, and it wasn’t about Trident. For awhile, the whole Mute relationship with Trident continued, and Flood did most of his work for them there. I don’t know how U2 found out about him. The rumor mill, I expect. It wasn’t about the room. It was about him. He went to work with the team (producer Brian Eno and Daniel Lanois. Those are really pivotal moments.

Whereas “The Joshua Tree” was a collaborative effort between the production team and U2 members, Flood’s presence is more evident on Erasure’s “Circus.”

Yeah. They were quite different things.

Although “Circus” failed to catch on in America, it was very a very pivotal recording for Flood.

Very true. He really dislikes that you can hear him on the record, and he would deny it until the cows come home, but I think we all know where he’s been. In Flood’s mind, he takes it very seriously that a producer doesn’t flaunt his ego above the ego of the band. He’s a collaborative person. Yes, U2 was different, it was more collaborative. When he worked with (Brian) Eno, he was more collaborative. He is collaborative but (as his career evolved) he started to spread his wings, and grow himself. Those (two albums) were the first signs of what he was capable of and that’s one of the reasons why I left Trident. I could see what a career that he was going to have, and I didn’t want to be worried about booking a room with the same desk as everybody else’s. I couldn’t see the point.

A decade ago, recording budgets were slashed, and a lot of production work shifted from professional rooms to home studios. Many artists now go downstairs to their basement studio, and work with Pro Tools.

Yeah. Well that’s it. My son has had Pro Tools since he was 13. There’s also GarageBand. I like the accessibility of technology. The fact that it opens up the creative process to a lot of people. That’s kind of a punk thing, if you like. It means more people have access. It shouldn’t be a closed shop.

Are you a gear head?

I have never been very interested in the technology—I have had to know what it mean and what it does—but I’m not interested. Seriously I’m not interested. It’s not useful to me. There are other people who do that better than me who can talk about it. It’s a waste of my time, and everybody else’s’ time expecting to talk to me about it because I have no interest.

The process of recording in a studio with a producer is also a filtering process. Artists, producers and engineers all prepare for the date. A filter has been lost in the use of home studios. It used to be a band got their material together, and found a good producer who would help them create their music. Going down to your basement on your own isn’t the same.

No. It’s not the same thing. The recording process, it isn’t the same thing as production. Production is often about the perspective that you have, and that perspective about a piece of music is not just….It’s something like an “X factor” type of thing which is an overused concept. I hate (calling it) the “X” factor” but it is the indefinable magical kind of talent that you can’t learn. That’s what Flood has, for instance. That’s what Steve Osborne has. A lot of my clients have that. That’s the kind of people that I want to work with. People who have a special something.

Production is about perspective, and that is something that quite often you learn through years of watching other people make music; of being involved in the process of making records. That’s why the training system is good, as you say, because it filters. It allows you to have the time to understand how records are made. And being a real producer is not just about the technical thing. It’s not just a service you are providing in technical terms. It’s also about understanding how to place music in the marketplace. And I don’t mean that in a horrible kind of salesmanship kind of way. A producer is someone who is a catalyst working with a band to help them make more of themselves than they would be able to do on their own.

It’s not a recording process.

And a real producer has the perspective that you can only acquire with the experience of making records over long periods of time--the ability to see where a band sits in the market place, to be able to assess a band-- whether it's doing something exceptional or not, and to help them realize their dreams. A real producer is somebody who really wants to do something different, but also understands, in the making of a record, where it fits in the climate of today’s music industry or today’s music-buying communities.

The role of a producer has changed. At one time a producer for the most part was someone the label hired to get a chart hit or a quality record. With downloads and streaming, it’s not necessarily about getting a hit record anymore.


I’m not sure what a hit record is now.

Nobody does. The majority of our producer activity is supporting and developing bands. Bands have been out of fashion for a couple of years, and they are starting to come back now; but because record sales are so down, labels aren’t career building, and many artists aren’t touring unless they already have traction and a reasonable reach.

Everybody wants someone else to do the development of a band. You do oversee development though as well?

We do all of the development, yeah. Do all of that. Basically sourcing the bands, talent spotting, and nurturing. All of my guys have got their own studios. So it’s about helping them (bands) get the songs ready, and helping them to create a platform.

All of the things that label A&R and managers used to do.

We are working often in the absence of managers or working with people who think that they are managers who don’t have very much experience. Everybody who didn’t use to work at a label in A&R think now that they are a manager, and there are very different skills (involved). Being self-employed and making things happen is becoming harder and harder. I haven’t had anything different, really, since I left Trident all those years ago, 25 years ago. I have obligations clearly to my staff, whom are amazing, and to my clients. I have to remember that.

Is it difficult to convince a new act that it needs a producer?

It’s not really. That’s not the area you have to convince people. We have 25 requests a day from bands wanting to work with one of our producers. It’s not about convincing them. it’s about working out which ones are the worth taking on. It’s all very well making a great album, but if it’s never going to see the light of day because the manager is stupid or because it’s placed in the wrong market, and people aren’t going to buy it, what’s the point? People aren’t paying for music as we know.

Are bands coming to you seeking a producer or coming to you looking for both a producer as well as your industry connections?

It’s exactly that. Yes and yes. And it’s really, really hard (to take on an act). I won’t get involved with a band that I think is a great investment for my producer unless we have an involvement going forward now. We have done a lot of development in the last few years, but the things that really work are the things that we maintain an involvement in. I don’t mean that financially. I mean in terms of getting it where it (a project) needs to be. That means putting the right team around it.

We are involved in a project right now with (British singer) Nadine Shah who Erika (Tooker) our press officer is working with us on. We put that together because Ben Hillier produced her, and we developed this artist. We got to the end of the album and it was amazing. Ben Hillier had written the music with her, and basically became part of the project. We are managing her because we put together so much of the next steps for her that we really couldn’t no. It’s been really enjoyable.

It’s been hard work but my feeling is if you are doing an investment project—which is what they are, a production deal—just to send it over to a bunch of people who don’t know what they are doing with it; or, if it’s out of your hands, it’s really difficult to give it that much devotion, investment--as well as picking the right songs, writing the right songs, recording the songs, mixing the songs, getting it to a pluggers, bringing tastemakers onboard--and then go and let someone fuck it up. I don’t think that it doesn’t make sense.

How many artists are you managing?

We have only one act that we are fully managing, but we are doing production deals for probably half a dozen other projects and there’s a lot of projects that we are starting to work with, and we will just see how they go.

Is Nadine Shah the first act you’ve managed?

No I was involved with Nine Inch Nails way back. I also managed Wolfgang Press for awhile along with some other acts. I was also involved with Little Annie, Adrian Sherwood, and worked with On-U Sound System.

You have encouraged your producers to write for projects in recognition that, at the end of the day, an artist and a song connecting is still the most important factor in a recording.

That’s true. There are two ways that can work. In a climate where records aren’t being sold as much, and we are setting aside months and months of investment work with a band publishing has become part of the deal. That’s because a producer not getting paid anything at all (in an advance) needs to get more than a sales-related return. There are certain producers that don’t have the baggage that we did in the ‘80s and ‘90s where a producer of Flood’s caliber would do whatever it took to make record — including contributing songwriting ideas--and would be paid solely as a producer. That’s one area that has changed. People are less worried in asking for publishing but the problems is that when you have never asked for it, and you are suddenly asking for it, people are going “Well hang on. how come you are asking for it, and you never used to, and what you are doing is the same as you used to do?” The kind of producer/writer model has become very much more what you are buying into now.

Joe Hirst is certainly a producer known for also being a gifted songwriter.

He’s a great example of the new breed coming through. He’s a very talented boy. We signed a big publishing deal for him a couple years back with Sony (Sony/ATV Music Publishing UK). He’s been doing a lot of amazing development work. He has a couple of girls right now. An Irish singer, Elly O'Keefe, and young girl from up north, a young Stoke-based singer calling herself Shae. Both are really exceptional. He currently is doing a lot of work with Howie B as well. Writing and producing with him. He’s someone who is enjoying the writing more than the development world.

Seeking the music publishing in a production agreement comes down to whether it is a cash grab or an integral part of the creative process between the producer and the artist.

My view on that has always been very rigid until very recently. If it’s just a land grab I don’t feel comfortable with that as a concept. All my clients are driven by the idea of fair play in this regard, and not just grabbing publishing income regardless of their involvement. But where a producer is working on a project where no money changes hands and he alone makes the project live and breathe, then I think he should benefit from ancillary income, including publishing.

Still in any negotiation you must represent the interests of your client.

Sometimes I have to be a bit firmer than they would like me to be but, in principal, everyone has to feel comfortable with the deal that we come up with. Flood never has felt comfortable with me talking about his contribution to the creative process if it was publishing. But when you see other people with no more than what he’s done claiming publishing in a climate where record sales are in a downward trend, it’s something that we have to think about. But I would never do anything that didn’t have any grounds at all. I hate the idea of the land grab. It sets my teeth on edge. I hate the idea of an artist being taken advantage of.

Producers have seen a considerable reduction in their fees in recent years. The pie is smaller than it used to be. Producers now have to step up to the table, and be involved in different activities in a project as well now, including songwriting.

I agree with that. There’s a more positive openness among bands now which I’m enjoying. That I am encouraged by. There are various bands which have famously collaborated with writers including the Kings of Leon, a rock band who opened their hearts to co-writing with others. There’s been very few British rock bands that have opened themselves to that until recently. But I think that with albums being less important at the moment, there’s more focus on actual tracks and songs are becoming more important than ever in terms of your language with labels; and your leverage with labels. So I think that there’s been an opening towards that (collaborative songwriting) The ego doesn’t prevent bands being open to collaboration in that way anymore. I think that is really healthy.

Miami-based producer/artist Salaam Remi and I recently discussed how there’s plenty of talent around today, but few great songs. Without that key song, bands aren’t going to be successful nor are they likely going to be signed.

I am currently working a lot with Dave McCracken and bands that are lacking that last song or who had a great song on their last record but haven’t had something as good on this record. There is a need, and an ever mounting pressure to find that absolute song that crosses over. It’s exactly as you say. And I have people that can do that without trumping their own talents.

There are horrible collaborative writers who constantly brag about their influence even if they are there (working with the artist) for two seconds. They are there for five minutes and tell that artist what they should be singing, and then they fuck off, and then tell everybody that they wrote that song.

The world of collaborative songwriting is filled with people like that. That’s not my interest. That’s not interesting to me. The producers I manage that write are there for the good of the project and will be collaborative. They will step up, and step down. Step up where necessary without telling them (the band) what to do, but will be catalysts for people to stretch themselves, to experiment, and to reach further than they could within the context of their creative situation. That’s the bit that interests me.

With music shifting to mobile for listeners, there’s the argument that artists don’t need as great production.

I think that you do more than ever. People think that you don’t. I think you do more than ever because when you download that one track it needs to be fucking amazing otherwise people are just going to say, “The quality is going down.” It doesn’t help us to dilute our standards.

Mobile phones are like transistor radios from the ‘50s and ‘60s. Or like a car radio.

That’s how I still listen to music. Through my car speakers. That’s a bit of a security blanket.

I can recall producers mixing tracks for a car radio. In the studio everything sounds great on those big speakers.

You can set it (the music) up to sound great. You still need to take it out to be in touch with how people listen to music. Our problem, as producers, is that we don’t want to give people any further reasons to doubt the efficacy and the importance of production in terms of how music actually sounds. We want people to be excited by music. We want them to be encouraged by music. Not less encouraged by music.

But the recording budgets are so low now.

But we can’t scrimp on our methods even though technology is very accessible, affordable, and everywhere. The (production) method is still really important. The wisdom and the perspective of being a producer is more important than ever. It’s just that people don’t want to pay for it. You don’t get paid for five months recording. Making an album with Flood or Gil Norton is not a process that takes a week or two or three weeks. These people are trying to make really special recordings. That’s why we want to work with them. That’s why they were approached by Bono, Danny Lanois, Danny Miller, Polly Harvey, Smashing Pumpkins and by Trent Reznor. It’s because those people make a difference. They are special. They’ve got the “X factor.” It’s really important in this climate that we don’t give up on those standards. The problem is how to make it work with the money that we are getting in income.

What part of Wales are you from?

I (was born and) lived in Cardiff, but I left when I was 3. I went to school in London. My parents were teachers. My father moved out of sales into one of the business schools. and my mother was a head of modern languages.

You attended college?

I went to Warwick University, and I did English literature. A drinker’s degree in English literature. A naughty girl’s drinking degree. I was too busy having fun. Being in bands. Directing productions and so on.

You are a classically trained musician.

Trained in piano. I studied piano to grade 8. All of my teachers thought I was going to study music but I hated all of the little squares. The girls who did music at my school were just awful. Wearing little flowery dresses and outfits. I was smoking and dying my hair black. I didn’t feel like anyone.

Were you a punk?

Yeah. Definitely. I’ve got pictures to prove it. I was in love with that whole scene. The first gig I went to at 13 was Slade, but that doesn’t count. The real first gig I went to was when I was 15. I saw Penetration play at The Brunel Rooms which was incredible. From that point on, I was really into punk. Siouxsie and the Banshees, always. Then it was more XTC, and all of that Andy Partridge stuff. I was just got really grabbed by it all. It was just really exciting. I went to a really posh girls school, South Hampstead High School, and I didn’t feel like I fitted in anywhere.

How did you get involved with the studio business?

Well, I came back to London after university. Having a brilliant mid-education, and a brilliant musical education, I had felt that I’d do English literature because I felt that I wanted to be a writer. I didn’t know how I was going to be a writer. What I would do. But I would be a writer. I came out of university, and I said to my parents, “I’m going to be a writer.” They said, “Well, that’s nice darling.” Nobody said to me, “How are you going to do that? You have to get a job in the meantime.”

Did you get a job in the meantime?

I went off to do a typing course which annoyed me because my brother didn’t have to do a typing course. Men didn’t have to in those days. I did a typing course, and I was rubbish at that. I went for a couple of interviews, and the second interview I went to was at Sarm Studios. I had just had a haircut the day before. On King’s Road in London, they have these people that give you a leaflet, “C’mon and have your hair done” for two pounds or whatever. I had it done for two pounds, and it was absolutely dreadful. So my brother came back with me and made them cut it really short. I went into this interview with Jill Sinclair and Trevor Horn (at Sarm Studios) with basically a skinhead haircut. It was probably the thing that got me into the music business because I looked like I had loads of attitude. I don’t know if I did or not. I was quite well-spoken, and quite intellectual, but I looked like an absolute nutter.

Also you aren’t exactly a shy person.

I am a shy person actually. I am quite shy, but I like attitude. I like the attitude of that whole (punk) era. Shaving off my hair, I didn’t mean to. I’m not that brave. I didn’t go, “I’m going to shave my head like Sinéad O'Connor.” It just sort of happened by mistake. I had no choice. Then I just thought, “Oh, it will grow. I will just wear a hat.”

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.”

Larry is the recipient of the 2013 Walt Grealis Special Achievement Award, recognizing individuals who have made an impact on the Canadian music industry. He is a board member of the Mariposa Folk Festival in Orillia, Ontario.


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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