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How to Get a Record Deal Fast in 2020

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If your looking to sing to a major or independent label the best way is to reach out directly to label A&Rs. These contacts below are actively searching for music to share with those at the top who can change the direction of your music career with one listen. If you need to get a record deal fast these contacts posted below are your best bet. If you are new to submitting music to label A&Rs you may want to prepare yourself for a lot of unanswered emails. Most of the time record label executives don’t respond back due to the influx of material they receive on a daily basis. If you want to be heard you need to be consistent with sending your latest and greatest music! With the power of the internet, you never know how far you can make it with one message and the search for new talent in the music industry is never-ending. If you are looking to receive a guaranteed response from major label executives and A&Rs feel free to check out music submission service.  We can submit your music to over 300+ major labels and 1000+ independent labels at one time with guaranteed feedback from a major label or your money back! With our service, you will learn the steps you need to take to get signed directly from those who make the final decisions. We have helped over 30+ artists, producers, and songwriters get signed this year & we would love to help you. Our service has a fee due to the vast network of contacts we maintain but if your low on funds feel free to use our free label submission list below:

 

Major Label Contact List (Updated For 2020):

 

300
112 Madison Ave 4th Fl
New York, NY 10016-7416
646-668-4016
Email: [email protected], [email protected]
threehundred.biz
Web: 300ent.com
Styles/Specialties: all genres
Pete Giberga, Head of A&R

 

ATLANTIC RECORDS
(Warner Music Group)
3400 W. Olive Ave., 2nd Fl.
Burbank, CA 91505
818-238-6800, 818-238-9222
Email: [email protected]
com
Web: atlanticrecords.com
*No unsolicited material
Maureen Kenny, SVP, A&R, Mollie
Lehman, Sr. Dir. A&R

ATLANTIC RECORDS GROUP
Paramount Plaza
1633 Broadway, 10th & 11th Floor
New York, NY 10019
212-707-2000
Email: [email protected] com
Web: atlantic-records.com
*No unsolicited material
Pete Ganbarg, Pres. A&R

 

BLUE NOTE RECORDS
(Universal Music Group)
1750 N. Vine St.
Hollywood, CA 90028
323-871-5425
Email: [email protected]
Web: bluenote.com
Don Was, President

 

COLUMBIA RECORDS
LOS ANGELES (Sony Music)
10202 W. Washington Blvd.
Culver City, CA 90232
310-272-2100
Web: columbiarecords.com
*No unsolicited material
Mark Williams, President, A&R

COLUMBIA RECORDS – NEW YORK
25 Madison Ave., 10th Fl.
New York, NY 10010
212-833-4000
Email: [email protected]
Web: columbiarecords.com
*No unsolicited material
John Doelp, SVP, A&R Operations
Justin Eshak, SVP, A&R
Imran Majid, SVP, A&R

 

DEF JAM (Universal)
2220 Colorado Ave., 5th Fl.
Santa Monica, CA 90404
310-865-4000
Web: defjam.com
*No unsolicited material
Tab Nikhereanye, SVP, A&R
Noah Preston, VP, A&R

DEF JAM (NY)
1755 Broadway – 7th Floor
New York, NY 10019
212-333-8000
Email: [email protected]
Web: defjam.com
Styles/Specialties: hip-hop, rap, urban,
R&B
*No unsolicited materia
Steve Carless, Sr. Dir VP

 

DELMARK RECORDS
4121 N. Rockwell
Chicago, IL 60618
773-539-5001
Email: [email protected]
Web: delmark.com
Styles/Specialties: blues and jazz
Bob Koester, Sr., A&R
Steve Wagner, A&R

DIM MAK RECORDS
724 South Spring St.
Los Angeles, CA 90014
Email: Mike Jones, [email protected]
Styles/Specialties: edm, pop

EPIC
10202 W. Washington Blvd.
Akio Morita Blvd – 4th Floor
Culver City, CA 90232
310-272-2220
Web: [email protected]
Contact: Paul Pontius, Exec VP A&R,
Joey Arbagey, Exec. VP A&R
*No unsolicited material
Styles/Specialties: Various, including
pop, R&B, rock and hip-hop
Distribution: Sony Music
Entertainment
Roster: Fifth Harmony, Fiona Apple,
Meghan Trainor, Modest Mouse, Sara
Bareilles, Travis Scott , Sade, Ozzy
Osbourne, Jennifer Lopez

INTERSCOPE
2220 Colorado Ave., 5th Fl.
Santa Monica, CA 90404
310-865-1000
Email: [email protected]
Web: interscoperecords.com
*No unsolicited material
Aaron Bay-Schuck, President A&R
Sam Riback, Ex VP A&R

 

KRIAN MUSIC GROUP
224 W. 30th St., Ste. 1007
New York, NY 10001-1077
212-967-4300
Email: [email protected]
Web: krianmusicgroup.com
Frank Blasucci, GM

LITTLE FISH RECORDS
P.O. Box 19164
Cleveland, OH 44119
216-481-1634
Email: [email protected]
Web: littlefishrecords.com
Styles/Specialties: roots reggae, jam
band, smooth jazz, pop
*Accepts unsolicited material
Lawrence Koval, President, Artist
Mgmt

LIZZARD SUN ENTERTAINMENT
310-505-3958
Email: [email protected]
com
Web: cliffmorrison.com/contact.php
Roster: Cliff Morrison
Floyd Bocox, CEO

LOST HIGHWAY RECORDS
(See UMG Nashville)
401 Commerce St., Ste. 1100
Nashville, TN 37219
615-244-8944
Web: universalmusic.com
Styles/Specialties: rock, country, folk
*No unsolicited material accepted

LOVEPUMP UNITED

61 Greenpoint Ave., #508
Brooklyn, NY 11222
347-469-0627
Roster: Glitter Pals, Genghis Tron
Distribution: Secretly Canadian Distort
Styles/Specialties: indie, electro

MACKAVENUE
18530 Mack Ave., Unit #299
Grosse Pointe Farms, MI 48236
888-640-6225
Email: [email protected]
Web: mackavenue.com
Styles/Specialties: jazz
Richard McDonnell, President

MAGNA CARTA RECORDS
A-1 Country Club Rd.
East Rochester, NY 14445
585-381-5224
Email: [email protected]
Web: magnacarta.net
Styles/Specialties: progressive metal
*See website for Demo Submission
Peter Morticelli, A&R

MALACO RECORDS
3023 W. Northside Dr.
Jackson, MS 39213
601-982-4522
Email: [email protected]
Web: malaco.com
Styles/Specialties: gospel, R&B,
spoken word, jazz, blues, soul
*No unsolicited material
Tommy Couch, Jr., President/R&B,
A&R
Wolf Stephenson, VP, A&R
Darrell Luster, Director, Gospel

MATADOR RECORDS
134 Grand St.
New York, NY 10013
212-995-5882 Fax 212-995-5883
Web: matadorrecords.com
Styles/Specialties: all styles
*No Unsolicited Material
Robby Morris, Director, A&R

 

MOTOWN
(Universal)
1750 N. Vine St.
Los Angeles, CA 90028
323-871-5541
Email: [email protected]
Web: motownrecords.com

 

RAP-A-LOT RECORDS
P.O. Box 924190
Houston, TX 77292
800-861-7272
Email: [email protected]
Web: rapalotrecords.com
Styles/Specialties: Hip-Hop, Rap

RAZOR & TIE MUSIC
214 Sullivan St., Ste. 5
New York, NY 10012
212-598-2200
Email: [email protected]
Web: razorandtie.com
Contact: Nick Haussling,
[email protected]
Styles/Specialties: pop, metal, rock,
soul, folk, dance, world
Roster: All That Remains, the Pretty
Reckless, Starset, the Sword, the
Ready Set, Yellowcard, Attila, Chelsea
Grin, For Today, Hatebreed, HIM,
KYNG and Nonpoint
Nick Haussling, Sr. Director, A&R
Brooke Primont, SVP, Music
Placement & Licensing
Additional locations:
Los Angeles, CA
Email: [email protected]
Web: razorandtiepublishing.com
Kourtney Kirkpatrick, Director of
Film & TV Music
511 8th Ave. S.
Nashville, TN 37203
Brad Kennard, VP, Creative

RCA RECORDS
10202 W. Washington Blvd
Akio Morita Building, 5th Floor
Culver City, CA 90232-3195
Web: rcarecords.com
*No unsolicited material
Additional locations:

RCA RECORDS
25 Madison Ave.
New York, NY 10010
Web: rcarecords.com
No unsolicited material
9 Derry St. 4th Floor
London, W8 5HY England
Web: sonymusic.co.uk

REPUBLIC RECORDS
1755 Broadway, 8th Fl.
New York, NY 10019-3743
212-333-8000
Email: [email protected]
Web: republicrecords.com
Rob Stevenson, EX VP/ Head of A&R
Jason Jordan, SR VP, A&R

SUB POP RECORDS
2013 4th Ave., 3rd Fl.
Seattle, WA, 98121
206-441-8441
Email: [email protected]
Web: subpop.com
*Accepts unsolicited materials
Tony Kiewel, Head, A&R

SUMERIAN RECORDS
2811 Cahuenga Blvd. W.
Los Angeles, CA 90068
424-832-7275
Email: [email protected]
Web: sumerianrecords.com
Ash Avildsen, President

SURFDOG RECORDS
1126 S. Coast Hwy. 101
Encinitas, CA 92024
760-944-8000 Fax 760-944-7808
Email: [email protected]
Web: surfdog.com
Styles/Specialties: rock
Roster: Brian Setzer, Stray Cats,
Richard Cheese, Gary Hoey, Rusty
Anderson, Slightly Stoopid, Dan Hicks,
Butthole Surfers, Gibby Haynes, Dylan
Donkin, Dave Stewart, the Wylde
Bunch, Burning of Rome
*Unsolicited material accepted
Scott Seine, A&R

SYMPATHY FOR THE RECORD
INDUSTRY
120 State Ave., N.E. 134
Olympia, WA 98501
Email: [email protected]
Web: sympathyrecords.com
Styles/Specialties: rock, pop, punk

TANGENT RECORDS
P.O. Box 383
Reynoldsburg, OH 43068-0383
614-751-1962 Fax 614-751-6414
Email: [email protected]
Web: tangentrecords.com
Styles/Specialties: contemporary
instrumental, rock instrumental,
electronic, jazz-rock, world beat
Distribution: self-distributed
*Unsolicited material accepted
Andrew J. Batchelor, President

THIN MAN RECORDS
Email: [email protected]
thinmanentertainment.com, [email protected]
thinmanentertainment.com
Web: thinmanentertainment.com
Styles/Specialties: alternative
rock, dark wave, death rock, gothic,
industrial, jazz, junk, punk, and
psychobilly

THIRD MAN RECORDS
623 7th Ave. S.
Nashville, TN 37203-4601
615-891-4394
Email: [email protected],
[email protected]
Web: thirdmanrecords.com
Styles/Specialties: Various genres,
specialize in vinyl records pressing
Roster: Jack White, the Dead Weather,
Olivia Jean, the Raconteurs, the White
Stripes, Wanda Jackson, Wolf Eyes,
Karen Elson
Jack White, Founder
Ben Swank, Co-Founder
Ben Blackwell, Director of
Operations, Psychedelic Stooge
Additional location:
Detroit
441 W. Canfield St.
Detroit, MI 48201
313-209-5205

THUMP RECORDS
P.O. Box 9605
Brea, CA 92822
909-595-2144
Email: [email protected]
Web: thumprecords.com
Styles/Specialties: Latin rap, old
skool, rap, R&B, Latin, oldies, disco
*Unsolicited material accepted

TOMMY BOY ENTERTAINMENT
220 E. 23rd St.
New York, NY
212-3888-8300
Email: [email protected]
Web: tommyboy.com
*Accepts unsolicited material. To
submit demos. Please don’t send mp3/
album download links.
Brian Delaney, A&R
TOOTH & NAIL
P.O. Box 12698
Seattle, WA 98111-4698
Web: toothandnail.com

TRIPLE CROWN RECORDS
P. O. Box 222132
Great Neck, NY 11022
Email: [email protected]
Web: triplecrownrecords.com
Fred Feldman, President

UNIVERSAL MUSIC GROUP
2220 Colorado Ave., 3rd Fl.
Santa Monica, CA 90404
310-865-4500
Web: universalmusic.com
Additional location:
401 Commerce St., Ste. 1100
Nashville, TN 37219
615-244-8944
Email: [email protected]
Web: umgnashville.com
*No unsolicited material
Brian Wright, SVP, A&R

URBAN & LAZAR
Email: [email protected]
Web: urbandlazar.com,
Styles/Specialities: indie rock,
alternative, singer-songwriter
*We do not accept unsolicited material

VAGRANT RECORDS
BMG Records
5566 W. Washington Blvd.
Los Angeles, CA 90016
323-302-0100
Email: [email protected]
Web: vagrant.com
Styles/Specialities: rock, indie,
experimental
Roster: Active Child, Bad Suns, Best
of Friends
*We do not accept unsolicited demos
Dan Gill, GM

VANGUARD RECORDS
100 North Crescent Drive
Garden Level
Beverly Hills, CA 90210
Email: [email protected]
Web: vanguardrecords.com
Syles/Specialties: jazz, folk music
*No unsolicited material

VAPOR RECORDS
1460 4th St., #300
Santa Monica, CA 90401
Email: [email protected]
Web: vaporrecords.com
Styles/Specialties: indie, rock
*Accepts unsolicited material

VERVE MUSIC GROUP-UMG
Santa Monica, CA
Email: [email protected]
Web: vervemusicgroup.com,
universalmusic.com
Styles/Specialties: jazz, adult
contemporary, classical
*No unsolicited material
David Foster, Chairman

VICE RECORDS
Brooklyn, NY
718-233-3657
Email: [email protected]
Web: facebook.com/vicerecords
Styles/Specialties: rock
*Accepts unsolicited material

VICTORY RECORDS
346 N. Justine St., 5th Fl.
Chicago, IL 60607
312-666-8661
Email: [email protected]
Web: victoryrecords.com
Styles/Specialties: rock, punk, metal
Tony Brummel, Founder
*Accepts unsolicited demos

VIRGIN RECORDS
(see Capitol Music Group)

VOLCOM ENTERTAINMENT
1740 Monrovia Ave.
Costa Mesa, CA 92627
855-330-0188
Email: [email protected]
Web: volcom.com/music
Styles/Specialties: punk, indie, rock
Roster: Valient Thorr, Riverboat
Gamblers, Year Long Disaster, ASG
*No unsolicited material
Ryan Immegart, A&R

WARNER BROS. NASHVILLE
20 Music Sq. E.
Nashville, TN 37203
615-748-8000
Email: [email protected]
Web: warnermusicnashville.com
*No unsolicited material
Scott Hendricks, Exec. VP, A&R
Cris Lacy, VP, A&R

WARNER BROS. RECORDS
3300 Warner Blvd., 3rd Fl.
Burbank, CA 91505
818-846-9090
Web: warnerbrosrecords.com
*No unsolicited material
Jeff Fenster, Sr. Exec. VP, A&R, Kate
Craig, VP A&R
Mike Elizondo, SVP, A&R

WARNER MUSIC GROUP
1633 Broadway
New York, NY 10019
212-275-2000
Web: wmg.com
*No unsolicited material
Mike Caren, President Worldwide,
A&R

WARNER MUSIC LATINA
555 Washington Ave., 4th Fl.
Miami Beach, FL 33319
305-702-2200 Fax 305-266-8771
Email: [email protected]
Web: facebook.com/warnermusiclat
*No unsolicited material
Gabriella Martinez, VP Marketing

WICKED COOL RECORDS
434 6th Ave., Ste. 6R
New York, NY 10011
347-229-2960
Email: [email protected],
[email protected]
Web: wickedcoolrecords.com
Styles/Specialties: garage rock

WILD RECORDS
Web: wildrecordsusa.com
Styles: rockabilly, blues, surf, garage
and soul
Reb Kennedy, President, Founder
WIND-UP
Concord Bicycle Music
100 North Cresent Drive
Garden Level
Email: [email protected]
concordmusicgroup.com
Web: winduprecords.com
*Accepts unsolicited material
Shawn Cohen, Sr. Director, A&R

WORD ENTERTAINMENT
25 Music Sq. W.
Nashville, TN 37203
615-251-0600
Web: wordlabelgroup.com
*No unsolicited material
Styles: Christian
Rod Riley, President/CEO

XL RECORDINGS
(Beggars Group)
134 Grand St.
New York, NY 10013
212-995-5882
Email: [email protected]
Web: xlrecordings.com
Styles/Specialties: rock, indie, electro
Roster: Adele, Sigur Rós, the xx,
MIA, Friendly Fires, Ratatat, Vampire
Weekend, Peaches, the White Stripes,
Jack White

AFTERMATH
2220 Colorado Blvd Santa Monica, CA 90404
Phone: 310 865 7642
Fax: 310 865 7068
Artists: Blackstreet, Dr. Dre, Eminem, Eve, Snoop Dogg, Warren G
A&R’S
Andre Young/ Dr. Dre
Mike Lynn/ A&R
Angelo Sanders/ A&R

AMERICAN RECORDINGS
8920 Sunset Blvd Los Angeles, CA 90069
Phone: 310 276 4500
Fax: 310 288 5306
www.americanrecordings.com
Accepts unsolicited material
Artists:, Beastie Boys, Black Public Enemy, Run-D.M.C, Sir Mix-a-lot, Slayer, system of the down
A&R’S
Rick Rubin/ President
Dino Paredes

Astralwerks
104 W. 29th St. 4th Floor
New York, NY 10001
Phone: 212-886-7500
Fax: 212-643-5573
Web: www.astralwerks.com
Unsolicited Material Accepted

Atlantic (WEA)
3400 W. Olive Ave. 3rd Flr.
Burbank, CA 91505
Phone: 818-238-6800
www.atlantic-records.com
Artists: Drama, Nappy Roots, Sunshine Anderson, T.I., Trina, Twista, Lil Kim, Ray J
A&R’S
Mike Caren/ Sr. VP A&R
Tom Storms/ VP A&R
John Rubeli/ VP A&R
Kevin Carvel/ A&R
Chris Morris/ A&R
Hutson Miller/ A&R

Atlantic Records (WEA)
1290 Ave. of the Americas
New York, NY 10104
Phone: 212-707-2000
Fax: 212-581-6414
www.atlantic-records.com
Artists: Freeway, Jay-Z, Cam’Ron
A&R’s
Gloria Gabriel/ Assoc. VP A&R
Mary Gormley/
Rob Tewlow/ Director A&R Rap
Gee Roberson/ A&R Hip Hop
Kyambo Joshua/ A&R
No Unsolicited Material

BAD BOY ENTERTAINMENT
1440 Broadway 16th Floor New York, NY 10018
Phone: 212 381 1540
Fax: 212 381 2090
www.badboyonline.com
Accepts unsolicited material
Artists: Black Rob, Carl Thomas, Dream, Shyne, Dream, P. Diddy, 112, Craig Mack, Faith Evans, Jodeci,
A&R’S
Harve Pierre/ A&R
Sean Combs/ P. Diddy
Shannon Lawrence/

BLACKGROUND RECORDS

155
W 19th Street New York, NY 10011
Phone: 646 638 2585
Fax: 646 638 2584
www.blackground.com
Artists: Aaliyah, R Kelly, Toni Braxton
A&R’S
Barry Hankerson

Capital Records (EMD)
1750 N. Vine St.
Hollywood, CA 90028
Phone: 323-462-6252
Fax: 323-469-4542
Web: www.hollywoodandvine.com
Artists: Chingy, Dilated Peoples, Marcy Playground, The Vines A&R’S
Ron Laffite/ Sr. VP A&R
Julian Raymond/ VP A&R
Laurel Stearns/ Director A&R
Louie Bandak/ Director A&R
Brian Wittmer/ Director A&R
Andrew Slater/ A&R President
Wendy Goldstein/ A&R Urban

COLUMBIA RECORDS
4140 Commerce Street Suite 204 Dallas, TX 75226
Phone: 214 515 9700
Fax: 214 515 9708 www.columbiarecords.com Artists: Beyoncé Knowles, Destiny’s Child Jessica Simpson, Kelly Rowland A&R’S Teresa La Barbera-Whites

Columbia (Sony)
2100 Colorado Ave. Santa Monica, CA 90404
Phone: 310-449-2100
Fax: 310-449-2743
Artists: Crazy Town, Offspring
A&R’S Tim Devine/ A&R John Pikus/ A&R www.sony.com/music/columbia

Columbia (Sony)
550 Madison Ave. 24th Flr. New York, NY 10022
Phone: 212-833-4000
Fax: 212-833-4389
Artists: Dungeon Family, Goodie Mob, Outkast, Pink, Usher, Youngbloodz, Darren Hayes, Maxwell, Nas, John Mayer, Good Charlotte, Anastacia, Dixie Chicks, Ricky Martin A&R’S Meghan Lyons/ A&R Asst. Gregg Boggs/ Manager A&R Matt Pinfield/ Sr. A&R Kevin Patrick/ VP A&R Mitchell Cohen/ Sr. VP A&R Kawan Prather/ A&R Lee Danny/ Pop A&R David Massey/ Pop A&R www.sony.com/music/columbia

DOGGY STYLE RECORDS
2220 Colorado Avenue Santa Monica, CA 90404
Phone: 310 865 4500
Fax: 310 865 1406
www.doggystylerecords.com
Accepts unsolicited material artists: Snoop Dogg
A&R’S
Frank Cooper

Electra Entertainment
3400 W. Olive Ave.
2nd Floor
Burbank, CA 91505
Phone: 818-238-6800
www.electra.com
Artists: Missy Elliott, Lil Mo, Tweet, Yolanda Adams
No Unsolicited Material
A&R’S
Jay Brown/ Sr. VP A&R
Howard Benson/ Sr. VP A&R
Electra (WEA)
1290 Ave of the Americas
24th Floor
New York, NY 10104
Phone: 212-707-2000
Fax: 212-405-5411
Artists: Fabolous, Lil Mo
A&R’S
Leigh Lust/ Rock A&R

Epic Records Group (NY)
550 Madison Ave. 21st Flr.
New York, NY 10022
Phone: 212-833-8000
Fax: 212-833-4054
www.epicrecords.com
No Unsolicited Material
Artists: 3LW, B2K, Glenn Lewis, Mandy Moore, Ruff Endz, TQ, Ginuwine, Glenn Lewis, Jennifer Lopez, Mandy Moore, Michael Jackson, Macy Gray, Shakira
A&R’S
David Massey/ VP A&R
Ben Goldman/ Sr. VP A&R
Rose Noone/ Sr. VP A&R
Danny Wimmer/ Sr. VP A&R
David McPherson/ A&R
Marvin Peart/ A&R

Immortal (EMD)
12200 Olympic Ave. Ste. #400 Los Angeles, CA 90064
Phone: 310-582-8300
Fax: 310-582-8301
Unsolicited Material Accepted
A&R’S Happy Walters/ President Jason Markey/ A&R

Interscope/ Geffen
2220 Colorado Ave. Santa Monica, CA 90404
Phone: 310-865-1000
Fax: 310-865-7908
No Unsolicited Material
Artists: The Calling, Christina AguileraLit, Vanessa Carlton, Mya, Sheryl Crow, Smash Mouth A&R’S Jimmy Iovine/ CEO Jordan Schur/ President Geffen Ron Fair/ President A&M Mark Williams/ A&R Chuck Reed/ A&R Wendy Higgs/ A&R Tony Ferguson/ A&R Munir Bashir/ A&R Urban Jeff Blue/ A&R Rock www.interscoperecords.com

Interscope/ A&M
1755 Broadway, 8th Floor New York, NY 10019
Phone: 212-841-8000 www.interscope.com
No Unsolicited Material
A&R’S Jeff Anderson/ A&R Lisa Ballard/ A&R Asst. Andrew Smolinski/ A&R Asst. Ron Gillard/ A&R

Island Def Jam Records

8920 Sunset Blvd. 2nd Floor Los Angeles CA 90069
Phone: 310-276-4500
Fax: 310-271-8923
www.defjam.com
Ludacris, LL Cool J, Beastie Boys, WC,
A&R’S Paul Pontius/ Sr. VP A&R Daniel Shulman/ Director A&R Brendan Mendoza/ A&R Anthony Bland/ A&R

Island- Def Jam Music Group
825 8th Ave. 29th Flr.
New York, NY 10019
Phone: 212-333-8000
Fax: 212-603-7654
Artists: Def Squad, Musiq Soulchild, DMX, Busta Rhymes, LL Cool J, Bon Jovi, Lionel Richie
A&RS
Diana Fragnito/ Sr. Director A&R
Rob Stevenson/ Director A&R
Jeff Fenster/ Executive A&R
Tina Davis/ VP A&R
Skane/ Director A&R
Kevin Liles/ president
Randy Acker/ A&R

ROC-A-FELLA RECORDS
825 8th Avenue 29th Floor New York, NY 10019
Phone: 212 333 8000
Fax: 212 445 3616
www.roc-a-fella.com
Artists: Freeway, Beanie Sigel, Cam’Ron, Memphis Bleek
A&R’S Ramses Francois / A&R
Shawn Carter/ Jay-Z
Damon Dash

STAR TRAK ENTERTAINMENT
1755 Broadway New York, NY 10019
Phone: 212 841 8040
Fax: 212 841 8099
www.startrakmusic.com
Artists: Neptunes, Clipse
A&R’S
Rob Walker/ A&R

THE NEW NO LIMIT RECORDS
PO Box 881755 Los Angeles, CA 90009
Phone: 281 831 7629
Fax: 310 578 5977
www.thenewnolimit.com
Artists: 504 Boyz, C-Murder, Fiend, Kane & Able, Lil Romeo, Master P, Mia X, Silkk The Shocker, Tru, Young Bleed
A&R’S
Percy Miller/ Master P
Tommy Boy
32 W. 18th St. Penthouse New York, NY 10011
Phone: 212-388-8300
Fax: 212-388-8400
[email protected]
www.tommyboy.com
A&R’S
Victor Lee/ A&R

Virgin
150 5th Ave. 3rd Floor
New York, NY 10011
Phone: 212-786-8200
www.virginrecords.com
A&R’S Matt Serletic/ CEO
Josh Deutch/ Sr. VP A&R
Jayson Jackson/ Urban A&R
Dean Serletic/ Sr. A&R
David Walter/ Director
Lynn Oliver/ Director
Ronette Bowie/ A&R Administrator
Jennifer Baily/ Assistant
Michelle Ryang/ A&R

Virgin Records
5750 Wilshire Blvd.
Los Angeles, CA 90036
Phone: 323 692-1100
Fax: 310-278-6231
A&R’S
Pete Farmer/ A&R Urban
Michael Howe/ A&R
Tilman Welch/ Urban Assistant A&R

Warner Bros.
3300 Warner Blvd. 3rd. Flr.
Burbank, CA 91505
Phone: 818-846-9090
Fax: 818-953-3423
Artists: Disturbed, Faith Hill A&R’S
Tom Whalley/ A&R
David Foster/ A&R
Rob Cavallo/ A&R
Jeff Aldrich/ A&R
Craig Aaronson/ A&R
Perry Watts Russell/ A&R
Andy Olyphant/ A&R

Warner Bros. Records
75 Rockefeller Plaza 21st Flr.
New York, NY 10019
Phone: 212-275-4500
Fax: 212-275-4596
A&R’S
James Dowdall/ A&R
Will Langolf/ A&R
Kari Rybacki/ A&R
Andre Young / Dr. Dre

AFTERMATH
2220 Colorado Blvd Santa Monica CA, 90404
Phone: 310 865 7642
fax: 310 865 7068
credits: Dr. Dre, Ice Cube Eminem, Snoop Dogg, Nas
Urban
Production
Beatology Music
P.O. Box 201
Beverly Hills, CA 90213
Phone: 909-426-5243
Email: [email protected]
Contact: Gordon McGinnis
Credits: Dr. Dre, 2 Pac, Snoop Dogg, Ice Cube, George Clinton, Method Man, DMX, Mac Mall, Mack 10, Kurupt
Urban
Music Production

NRG STUDIOS
111 28 Weddington North Hollywood, CA 19601
Phone: 818 760 7841
fax: 818 760 7930
Credits: Papa Roach
Rock
Production
Chad Hugo Neptunes
6 W 57th Street New York, NY 10019
Phone: 212 830 0776
Fax: 212 830 2272
www.startrakmusic.com
Credits: Clipse, Snoop Dogg, Brittany Spears, P Diddy
Rock, Pop, Urban, Country, Music Production
Michael Mavrolas

GENUINE REPRESENTATION
Kenneth Crouch
Sean Blaze
Gregg P
Tone Capone
Claudio Cueni
Mark Feist
11271 Ventura Blvd, Suite 225 Studio City, CA 91604
Phone: 818 505 6870
Fax: 818 505 6872 [email protected]
Credits: Jay-Z, Kurupt, E-40, Nas, 50 Cent, Kelly Rowland, Destiny’s Child, Will Smith
Urban/ All
Production

Caliente Entertainment
9348 Civic Center Dr. Mezzanine Level Beverly Hills, CA 90210
Phone: 310-276-7505
Contact: Jorge Hinojosa, Dan Backhaus
Clients: Ice-T, Body Count, Cream Inc, Paul Oakenfold,
Urban, Rock, Pop, Country
Music Production
Marshall Mathers

SHADY RECORDS
151 Lafayette Street New York, NY 10013
Phone: 212 324 2410
fax: 212 324 2415
www.eminem.com
credits: D12, 50 Cent, G-Unit
Urban Production

Jermaine Dupri
685 Lambert Drive Atlanta, GA 30324
Phone: 404-888-9900
Fax: 404-888-9901
www.sosodef.net
Credits: Da Brat, Bow Wow, Kris Kross
Urban
Production
Accepts only solicited material
Irv Gotti
825 8th Avenue 29th Floor
New York, NY 10019 Phone: 212 333 1330 Fax: 212 445 3662 credits: Ashanti, DMX, Ja Rule,
Jay-Z
Hip Hop, Rap, R&B

Music Production
Tim Mosley/ Timbaland
BEAT CLUB 2220 Colorado Blvd Santa Monica, CA 90404
Phone: 310 865 8007
Fax 310 865 7908
credits: Missy Elliott, Petey Pablo, Bubba Sparxxx Accepts unsolicited material
Urban Production
Rockwilder

ELLIS ENTERTAINMENT
James Ellis 900 South Ave, Suite 262 Staten Island, NY 10314
Phone: 718 568 3655
Fax: 718 568 3643
[email protected]
credits: Redman, Fabolous, Fat Joe, Flipmode Squad, Jay-Z, Lil Kim, Nas
Urban
Production
Accepts unsolicited material
Antonio LA Reid
West 57th Street New York, NY 10019
Phone: 212 489 7400
fax: 212 977 9843
credits: TLC, Avril Lavigne Toni Braxton
All Styles
Production
No Unsolicited Material
Guy Roche

RO ENTERTAINMENT

4007 West Magnolia Blvd Burbank, CA 91505
Phone: 818 843 2628
fax: 818 843 4480
[email protected]
Credits: Brandy, Dru Hill Christina Aguilera
Urban
Production
Rick Rubin

AMERICAN RECORDINGS
8920 Sunset Blvd Los Angeles, CA 90069
Phone: 310 276 4500
Fax: 310 288 5306
americanrecordings.com
Credits: Beastie Boys, Red Hot Chili P., Run-D.M.C, Sir Mix-a-lot
Production
Accepts unsolicited material
Darian Rundall
19216 Beckworth Ave.
Torrance, CA 90503
Phone: 310-901-2490
Email: [email protected]
Credits: Pennywise, Kottonmouth Kings,
Rock, Punk, Metal
Music Production
Nisan Stewart

BAD BOY ENTERTAINMENT
Francesca Spero 1440 Broadway, 16th Floor
Phone: 212 381 1540
Fax: 212 381 2090
www.badboyonline.com Credits: Tweet
Urban
Production
Swizz Beatz

HARRIS ENTERTAINMENT,
INC 3519 Lakewind Way Alpharetta, GA 30005
Contact: Ida Harris
Phone: 678 624 9317
Fax: 678 624 0699
[email protected]
Credits: Jay-Z, Mary J. Blige, Limp Bizkit, DMX, Eve, Nas
Urban/ Rock
Production
Accepts unsolicited material

TRACKMASTERS ENTERTAINMENT
550 Madison Ave. New York, NY 10022
Phone: 212 833 7962
Fax: 212 833 4797
Urban
Production

THE NEPTUNES
Rock Soul Entertainment 6 W 57th Street New York, NY 10019
phone: 212 830 0776
Fax: 212 830 2272
www.startrakmusic.com
credits: Clipse, Brittany Sprears, Neptunes, Snoop Dogg, Ray J, P. Diddy
Rock, Country, Pop, Urban
Music Production

 

Breaking Into the Music Industry One Viral Tik Tok Video At a Time

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Does it make sense for a new artist breaking into the music industry – to create homemade videos of their band and their songs and post them on Tik Tok ? Interestingly enough, there have been many stars born on Tik Tok , and you can expect this to continue. Occasionally, these songs go viral along with the video, and they attract a promoter from the music industry, to sign up these up-and-coming stars, and invest marketing dollars to promote them to the next level of stardom.

Now then, does this mean that anyone who puts lots of Tik Tok videos up of their band is sure to go viral, and establish a following of loyal fans to their music? Absolutely not, the chances are very slim, but they do exist and it is one more avenue these new artists can try to get well known, and break into the music industry. In fact, there are now buzz marketing firms which will help a new band get going on the social networks, and work to get their videos in front of hundreds of thousands of Facebook friends, who may then again tweet about the new band.

No one knows for sure how these social networks will evolve and how they will help the music industry, or hurt it. Many believe that with the illegal downloading of songs online, it meant the end of the music industry, but this may only be the beginning as the industry adjusts to the new norm. Whether the industry decides to adapt, or sue those who do illegal downloading, you can expect that these less than ethical downloads, and the viral online YouTube videos will continue for some time in the future.

The Chinese have an interesting proverb and curse; “May you live in interesting times,” and let’s not forget that the symbol for crisis in the Chinese language is also one with the symbol for opportunity, and they are interchangeable. Perhaps the music industry needs to consider all this, learn to go with the flow, and to kayak down the roaring river to greater future profits. Please think on this.

 

How to Ignore Criticism and Stay Afloat in the Music Industry

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Nearly every musician faces lots of criticism from friends and family. Throughout recent history, the music industry has been a risky field for most artists. Before the internet, only the most popular bands could generate the huge advances from record companies necessary to record and release an album. Your well-meaning allies might beg you to choose another career that offers more stability. To the true musician, this is extremely frustrating; you want your friends and family to support your pursuits.

Don’t Give Up the Fight!

Most music industry success stories involve incredible patience. Some bands struggled for years before getting a big break. In the internet era, artists can gain fans without necessarily having to impress some lofty gatekeeper like a record company executive or manager. In fact, the luck aspect of music industry success has largely grown obsolete; you can become the master of your own fate and gain fans online without having to partner with a label at all.

Discover Your Niche

The small business approach to music industry success involves cultivating a distinct niche. For example, a guitar player might be able to build a career by releasing instrumental songs that primarily appeal to other guitar players. Another band might choose to build a career by playing chaotic heavy metal for a very specific audience worldwide. There are so many types of music that online users consume, and many artists have been able to pay the mortgage by appealing to fans of boutique genres.

If you want the support of a label, lots of independent record companies cater to boutique genres. They also must pick from a smaller pool of bands. The supply and demand factors thus favor musicians who play in these distinct genres; fewer competitors battle for the attention of specialized independent labels.

However, an artist need not design his or her entire career around attracting the attention of music industry professionals. Online tools are often used to accomplish some of the same purposes. Distribution services allow you to offer songs for download on popular platforms like iTunes. Social media sites are wonderfully inexpensive marketing tools. Home recording software helps musicians record professional sounding songs.

With custom iPhone apps, you can put your band in the pockets of your fans. Content delivery has never been more inexpensive and easy for independent bands. You do not have to hire a public relations firm to deal with blogs. Nearly every activity can be managed in-house by any indie artist.

Your Detractors Are Helping to Toughen Your Spirit

They say it will never work. They tell you to pursue an easier career at an established company. This is not the life you have in mind, and you should not submit to the fears of others. Now is a great time to pursue a career as an independent musician. Build your brand like any other small business. Use conventional tools like search engine optimization and social media to become a top artist in your chosen niche. The internet has helped many musicians develop into viral sensations. Ignore the criticisms of others and press on with confidence. Let every word of discouragement inspire more time spent perfecting your craft. Music is a language that everyone understands; speak it fluently and pursue your dreams without fear.

 

How the Internet Has Changed the Music Industry

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The evolution that has taken place in the music industry over the last 15 years is quite staggering. The entrance of the internet onto the world stage has revolutionised the way music is bought, marketed and shared. It is not only the depth of the changes that are occurring, but also the increasing rate at which these changes are taking place. New technologies and processes are becoming outdated almost as soon as they are first officially adopted. Love it or hate it, the world wide web is here to stay, and it has irrevocably changed the business of music.

How music is purchased – Traffic to brick and mortar music stores is decreasing at a steady pace. Stores have had to entirely rethink their sales strategies and embrace a vision that is larger than just the sale of music. The mp3 has made it possible to purchase music from the comfort of your own armchair or bed. The possibility of CDs becoming completely obsolete in the not too distant future is not that far fetched at all. Gone are the days of buying an album containing 3 or 4 songs that you like, with the rest that you have to tolerate or entirely ignore. Now, you buy only the songs that you know you want. This has resulted in a decreased revenue for record companies and artists because the guarantee of the sale of a complete album no longer applies. A greater emphasis is therefore now placed on the release and marketing of “singles” in an attempt to boost profits.

How artists gain exposure – Along with the internet, came the artists ability to market and promote themselves with unprecedented efficiency. Loading an mp3 file onto a social networking site like MySpace is significantly easier than the time, money and effort required to organise a gig to achieve that same goal. Not only that; instead of playing their song to 50 people in an obscure club somewhere, that song is now immediately available to millions of potential fans around the world at the click of a mouse. It is therefore not unheard of anymore to find bands that are bringing in significant income and gaining substantial popularity, without a record deal having ever been signed. There is also a greater degree of interaction between the artists and their fans, which further cements the connections between them which influence sales.

How music is shared, copied and stolen – One of the biggest challenges facing the music industry is the issue of music piracy. The available technology makes music theft incredibly easy, and incredibly cheap. The impact on music business revenues in recent years in incalculable. Pirates around the world are now stealing music as easily as customers are buying theirs, from the comfort of their own homes. CD-R, P2P (Peer to Peer) and torrent technologies have made music piracy an issue that gives artists and record labels alike a great deal of concern.

As these and other issues continue to alter the face of the music industry, it seems that one rule is becoming more and more clear. For the artist, record company or retail business, that requirement must be, adapt or die.

 

How To Get Into The Music Industry – A Hot Tip To Get You Noticed

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If you’re a musician or band and want to get into the music industry and are looking for advice to help you get noticed, read on and I’ll give you a tip that may well help your ambitions.

Most people I speak to that want to break into the music industry seem to think that there are only two ways that they are going to get signed and make it big:

  • Route One: Win an unsigned artist competition or an American Idol type show and grab instant success.
  • Route Two: Get their demo heard by the A & R of a record label and get offered a deal.

I’m not hear to tell you that can’t and doesn’t happen, because it has and does and if you want to rely on the two routes above then that’s fine because it shows ambition and at least you’re aiming for something.

Let’s examine something for a minute or two, if you want success because you want to be popular and financially successful why not start now?

Build a following for your music and build a fan mailing list:

  • If you are going to enter a competition to showcase your talent and you have a huge following in the crowd do you think that this will be an advantage?, you bet it will.
  • If you send in a demo to a busy A & R guy and your accompanying info states that you have already gained a large following and you are looking to move your music up a level by signing with a label, do you think that your 30 second evaluation that most demo’s get will be listened to with more interest given that no-one wants to miss the next big thing?

How to get a fan mailing list and another huge reason why:

  • Use a specialist service, it’s cheap and free to start with, Google fan bridge and you can learn all about it.
  • The income you can gain by marketing your music and merchandise to a list of interested followers that feel a part of your growing musical success can be surprising.You can use the list to drive more fans to your website or Facebook page and I think you will agree that a band with a few thousand followers will find it easier to get more shows and more interest which equals more and more fans.

 

Seven Tips For Getting In Contact With Influential People In The Music Industry

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People who possess valuable contacts tend to progress much more quickly in an industry that is people orientated such as the music industry. It is therefore not only imperative to acquire contacts but also to keep them over the course of one’s career.

Below are seven sources of quality music business contacts:

Tip 1: Record Shops: Independent Record Stores are one of the richest sources of information because they are a hub where everyone meets. DJ’s, Promoters and Labels Owners are just some of the music business professionals that hover around records stores.

Visiting your local store regularly and making friends with the people who work there can be one of the best uses of your time. Recently I put this to the test again and found that the person behind the counter is a good friend of a major label executive!

My advice is: “Visit record stores regularly”

Tip 2: Music Business Courses: Apart from the knowledge that you will gain from attending a music business course; you will also be in the room with others who are in similar or better positions which allows for tremendous networking opportunities.

A good goal for attending an event is to make at least one contact whom you can help and one contact that can help you! Break times and workshop times are great for this and other networking purposes.

Always attend courses regularly; they are an excellent source of contacts.

Tip 3: Music Studios: Record producers and engineers tend to meet good cross-sections of industry professionals like Managers, Label Owners and Artists. With these types of individuals constantly passing in and out of their offices, they have developed a very large number of contacts.

Such contacts could be open to you if you use their services, if they consider you a friend or if you meet them at an event!

Tip 4: Industry Seminars: I am referring to events like Midem, SXSX, Great Escape, etc. These are a great source for international contacts that are very much needed in today’s global landscape.

Although visits to such places can be quite expensive the benefits can (if properly nurtured) far outweigh the costs. Developing international contacts is essential to the success of any artist and just one good synchronization deal can more than cover the cost!

Tip 5: Referrals – Asking Active People: The Bible says: “Ask and it shall be given you; seek and ye shall find; knock and it shall be opened unto you.” You would be surprised at the number of people have who a need but neglect to ask for assistance!

Referrals are one of the best contacts anyone could have. As a matter of fact, someone said just the other day that referrals are the most valuable contacts. The greater the number of referrals you have, the more contacts you will develop!

Tip 6: Using Directories: As mundane and tedious as this may sound, generating contacts straight from an industry directory can still be the most effective method. It is a more time-consuming process but is a rich resource that should not be ignored.

Tip 7: Industry Service Providers – Lawyers, Business Advisors, and Accountants, etc.: Finally, industry professionals are a key to unlocking tremendous numbers of contacts. A music business accountant is so familiar with how his clients are doing and what their needs are that if you can help him then he is willing to make the connection! The same can be said of Solicitors/Lawyers. Professional service providers are becoming involved in brokering deals now more than ever.

The next time you visit an accountant or business advisor make sure that you leave their presence with valuable contact.

You should never ignore people whose good graces you may one day need.

 

Breaking Into the Music Industry – 5 Ways to Make Yourself Stand Out

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With the rampant politics, fickle fans and lack of knowledge abound, it seems a Herculean task to make yourself stand out in this challenging industry. However with a set mindset and a few select skills at your disposal, you can and you will make it big into the industry. Here are a few pointers for you to take a look at.

    • Passion:Harbouring a music ambition?-many people do! What many people do not is make their way into the industry. The reason? To break into the music industry, you have got to put yourself in, lay the insecurity aside and make a go for it! You might be a top class musician but opportunity will not come to your door on a silver platter, you have to work for it, and maybe even be willing to accept that you are going to make a few mistakes in the quest for your success. What is indeed important is never to lose your passion, that fire that makes you a good musician!

 

    • Contacts: Music industry is a lot about connections. Who you know is very important in the long run and the people who can help are not going to come and ring your doorbell. You have to go and meet them, establish contacts and get them to open some doors for you. The bottom line is that networking is good, networking is essential, after all what you do not ask for, you will never get!

 

    • Management: There are things in your music career that you are good at, and there are things which are better off being handled by somebody else. It is important to know the difference and let a few select trusted people handle these works for you. Remember, collaboration is important and cooperation unavoidable, no matter how good you are.

 

    • Organization: Music is an art; music industry however is all business. It is important to draw a line between the two. It is also imperative to get your contracts right, your communications professional, deadlines met and expenses carefully considered. If you want music as a profession, it always pays to treat it like a job from the very start.

 

  • Promotion: Life and careers can never be conducted from behind the scenes. It is vital to make your presence known. Be it social media, blogs or your own website, building a fan base is essential. It is always better to make your own website where you can build your distinguished image, your own brand or persona so to speak. Again, networking is important; your direct line to someone who can help you get a foot in the door might just be a tweet or Facebook update away.

 

Tips for Getting In Contact With Influential People in the Music Industry

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Merely one person alone can only do so much for your career, for this reason, you’ll need to build a team of experts who all have a stake and interest in your career.

Your team should include a:

  • Manager: As the most important member of your team, your manager will oversee all aspects of your career. Look for experience and contacts.
  • Booking Agent: Your agent gets you live gigs and negotiates the best deals and guarantees. Opening for high-profile acts is highly desirable.
  • Entertainment Lawyer: Your lawyer ensures your contracts are in your favor and you are not getting stiff ended. In the music industry, lawyers also act as a gatekeeper and can pass on music to their influential contacts at record labels.
  • Business Manager: Your business manager handles the financials and business aspects of your career. Since an artist’s income usually comes from a variety of sources and royalty streams, it is not simple task.

A strong team of players mentioned above will help you get in touch and make deals with music publishing companies and record labels.

Getting in touch with music business higher-ups:

Conferences and Showcases: Attending, mingling, and showcasing your music at local and nationwide music conferences can connect you personally to some major music industry players. People like to meet face to face and making your case in person can do wonders. Look into South by Southwest and MIDEM. Stand out, make an impression they can’t forget, leave them with something physical in their hand, and follow-up with the contact after the conference.

Social Networking: It is a bit harder to get noticed over the internet, but in some ways, also much easier. You now can find contact information for your targeted contact via Twitter, Blogs LinkedIn, YouTube, Facebook, Soundcloud and more. Post and record videos that attract a large number of followers and follow industry contacts as well. Interact with them slowly and don’t ask too much of them right away. Make sure your profiles showcase the best of your music and fan base so you impress the contact.

Doing Your Thing: Sometimes the best way to get in touch with a music industry executive is to keep doing what you do best and wait for them to come to you. If your music is great, you have die-hard fans, tours booked, albums selling, industry people will notice your success and want to be a part of it.

Location, location, location: Placing yourself in a music mega center such as Los Angeles, Nashville, or New York, will make meetings easier. You’ll be able to attend organizational meetings in your city, invite others to your showcases, and mingle where the contacts mingle. If you’re physically in the same area, it opens new opportunities for you.

In addition to the hard work it takes to create a music career, it is encouraged to always press on yourself, make connections, and keep improving your craft. With time and commitment, you may make the contacts you need to help your career.

 

ABC’s of the Music Industry

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Music is an art, however, when it comes to the music industry Music is about money!

If anyone or any company feels that your music will not make them money, there will be absolutely no interest in your music. That’s it in the nut shell. Remember, to always remember this. The Music Industry is about Money!

There are a few sources of money to be made in the music industry. They include but are not limited to:

· Record sales

· Songs played on the radio

· In movies and television

· Concerts

· Song writing

· Producing

· Merchandising

· Advertising

· CD-ROMs/DVDs

If you are an artist and want to get into the music business, you need 3 very important very good people in your corner batting for you on a daily basis. They include:

· Personal Manager – The most of important of the three. They should have contacts in the music industry, keep on eye on all your affairs, advise you on things to do, help promote your music, producers to hire, who to sign with when to go on tour, etc. The personal manager will receive 15% and 20% of an artists gross earnings and have good contacts with record companies A&R, Marketing / Sales, and Promotion departments.

· Music Attorney – A good attorney specializing in the music will know how to properly negotiate and structure the deals an artist makes. They should have good contacts and be trust worthy. Expect to pay between 100 and 200 per hour for a good music attorney. If an attorney thinks you will get signed, they forego a set fee and charge a percentage of artist’s earnings. In bigger cities, you’ll pay more than in smaller cities.

· Music Agent – Book concerts and special appearances. A Personal Manager will help the artist with selecting a good agent.

If you blow up and start generating the big money, then a good Manager / Accountant will be needed to handle your tax situation, review royalty statements, financing tours, offer invest advice and how to manage your money.

Getting recognized by mailing your demo to record labels isn’t impossible, however, 99.9% of the time your material will not get listened to. Even if you have the best song on the planet, it will not be listened to. Record labels want to limit their liability, so they do not listen to unsolicited music. Record labels don’t want to listen to numerous songs and then be held liable if someone claims their material was copied.

If you do decide to mail your CD to record label, send the “solicited” material. First get a contact, preferably an individual in the Artists & Repertoire (A&R) department. Call and first speak to someone. After sending your CD follow up to determine if the targeted individual received your material and another follow up call to determine if it was listened to. Submit 3 to 6 songs and send a bio and picture of yourself. Again this isn’t the preferred way to submit your material to major record labels.

Until you have music business advisors in your corner trying to promote you and there is a “buzz” going around about you, your demo will not reach the decision makers at the record labels. Record companies on a daily basis receive thousands of unsolicited CDs. Most likely your CD will be tossed into a bin located in a remote room filled with overflowing bins of CDs.

Record labels like to deal with artists who have a history of record sales. These are artist that may have produced and sold their own CDs locally or regionally. Record labels like to deal with artists who have performed their material and there is this “buzz” going on about them. MC Hammer, before he became famous, performed his own materials and sold his own records until a major record label signed him. MC Hammer had a lot of leverage in negotiating a good contract because he already proved on a local basis he could sell records.

Record companies want to limit their liability. If you are signed, you are considered an investment that will require some money and they want to see a premium return on their money invested in you. The more you can prove that you can sell record, the better chance you can get signed.

If you get signed to a record company, you the artist will go into the studio and record songs for the record company. The record company makes copies of the master recording and ships it to a distributor. The distributor is a wholesaler who then sells the CDs to retail outlets like Best Buy, Sam Goody and Tower Records. The record company then pumps money into marketing by advertising and promoting your music with hopes of selling records, thus making you a superstar and becoming rich!

It is not as easy as it sounds. It takes a lot of hard work by a talented group of people. Everyone has to work together to make this happen. There are usually many people behind the scenes working to make an artist a superstar.

Record companies often categorized into 4 groups: · Major label record companies – have the recording and operating resources to complete all function to sell records. Major label record companies are integrated in that they can handle the promotion, sales, marketing, and distribution to sell music. Major label record companies are Arista, Atlantic, Capital, and Sony.

· Major label affiliate labels – have special agreements with the major label record companies, where the major label may fund the smaller labels recording and operating expenses in exchange for a portion of the smaller label profits.

· Independent labels – distributes records through major labels. Independent labels have few employees. They tend to find talent, sign the talent, sees to it the music is recorded and contracts with major record labels to perform the promotion, marketing, and other functions.

· True independent labels – Has no association with a major label and distribute their music through independent distributors.

The A&R (Artists & Repertoire) Department

The A&R department is the talent scout. They are in charge of finding new talents. They are the eyes and ears of the record company. However, not because you get signed to a record label because an A&R representative likes you it doesn’t mean your CD will ever get produced and released. Executives higher in the company could cancel your deal if they feel your CD will not sell. A record company will have to invest several hundred thousands of dollars to release your CD, so they will be extremely cautious on whom they release.

The Marketing and Sales Department

This department is responsible for getting the public excited about your music and first selling to retail stores the idea of carrying your CD. They are responsible for promotional merchandise, advertising your CD, in store displays, publicity, your CD cover, etc.

The Promotions Department

This department is responsible for getting your music played on the radio. The individuals in this department will visit the various radio stations to convince them to play your material. If your material doesn’t get played, no one will now how you are. People will look at your CD in the retail store and wonder who you are. There is also a direct correlation with CD sales vs. how many times a song for that CD gets played on the radio. More air time on the radio equals more CD sales for the record companies.

Remember music is art, but to the record companies, it’s about money. Keep in mind that it’s a business. Keep in mind everyone is out to make money. The minute people believe that you will not make money for them, you will be dropped and these same people will turn to seek other new artists that they believe will make them money. Unfortunately, the record business doesn’t believe in grooming people. If your first CD isn’t a success, you are out. There are rarely second chances. There are always other talented people behind you who what their shot at fame.

Distribution

Most major retailers such as Tower records will not carry a CD unless the record has a distributor. A strong distributor ensures that your CD will be available in enough places so your CD will sell to ultimately make money. Major labels use large distributors who are better able to get record stores stocked. After years of consolidation, there are only 5 major national wholesale distributors in the US who are owned by conglomerates who also own major record labels. They are:

· BMG (distributes Arista, BMG and RCA)

· EMI (distributes Capital and Virg.)

· Sony Music (distributes Columbia, Epic and Sony)

· Universal Music Group (distributes Interscope, Island/Def Jam, and MCA)

· WEA (distributes Atlantic, Elektra and Warner Bros.)

Distribution via the Internet Record labels and artists are increasingly using the web to distribute their music. Unknown artists can also use sites like this mZeus.com, http://www.mZeus.com, to generate buzz about their music. However, unknown artists will still have to work hard to get the buzz going about their music. Ultimately, signing a contract with a major record label is the way to go. The major record labels have the financial muscle and people to give you a good shot at becoming famous.

Let’s face it. It’s all about money! Yes, the entertainment industry seems fun and exciting, but people are in it to make money. As an artist the most important contract in the music industry is the record contract. The royalty is a portion of money from record sales paid to the artist for his/her music. The record contract which is a negotiated legal agreement between the record label and artist will state how much royalty an artist is entitled to among other things.

An artist should have a good understanding of how royalties are calculated. A good music attorney will help with this process by making sure the artist is paid what he/she deserves. A 13% royalty for one artist may be a lot of money, however a 13% royalty for another maybe “chump change”.

So this is how the numbers work. An artist successfully signs a record contract. The artist goes to the studio and work diligently to create a CD that the record company fully supports. The record company via its distributor sells the CD with a suggested retail list price (SRLP) of $17.99 to a retailer for about $10.99. The distributor will take 10% – 14% of the $10.99. Therefore the record company will get about ½ the SRLP of $17.99. Independent record companies may receive less than ½ the SRLP. Major record companies will pay artist royalty as a percentage of SRLP.

Rates will vary of each artist depending on how successful their record sells. For a new artist who never had a record deal or has sold less than 100,000 albums will get a typical royalty rate of 12% to 14% of the SRLP. For an independent record label it maybe 10% to 14% of the SRLP. For established artists who have a track record of selling 200,000 to 500,000 albums the royalty rate maybe 14% to 16%. For artists who have sold over 750,000 albums the royalty rates maybe 16% to 18%. As you can see, the more successful the artist is, the higher the royalty. Additionally, royalty maybe based on how well the record sells. For instance, the record contract may state that an artist will get 12% for the first 100,000 units sold, 14% for 100,001 to 300,000 units sold, and 16% for over 300,000 units sold.

But hold your horses. If you sell 500,000 albums and have a royalty rate of 12% doesn’t mean you will get 12% of 500,000 at a SRLP of $17.98 which would equal $1,078,800. This is because as specified in the record contract, there are deductions (expenses) that have to be deducted.

To start off the bat, the record company will deduct a “packaging charge” from the SRLP which is typically 20% for cassettes and 25% for CDs.

Second, more often the artist is responsible for paying the record producer a portion of his/her royalties. Typically a producer will receive 3% to 4% of the SRLP.

Third, in the record business, the contract may state that the artists only generates royalties on 85% of the unit sales. For every 100 albums sold, 15 albums sold, the artist gets no royalty.

Forth, the record company will hold a portion of the royalty money because the distributor typically has an agreement with the retail outlets to take back and credit the retail store’s money from unsold units. This is very important because a good portion of your album could be returned to the record company if the album doesn’t sell! The money that’s held back is called a reserve. Reserves may be held for 2 years before it’s paid to the artist. Typically a major record label will hold a reserve of 25% to 40% of the royalties.

Fifth, advances paid from the record company to the artist are deducted from the artist’s royalty. Advances include but are not limited to the:

· Recording studio expenses (new artists to an independent my get an advancement of $0 to $80,000, new artist to a major record label $150,000 to $400,000

· Hiring independent promoters to help sell the albums

· Cost of making a music video (promotions and an inexpensive music video can cost $150,000 to $200,000.

When money is made for record sales, these costs are deducted from the artist’s royalties. This is called recoupment. Therefore, if the artist’s record isn’t successful, the artist may never see a dime. If the royalties are less than the deductions, the artists may well owe the record company money by being in the red! This negative cost may be carried over to the next album release. A good record contract will not allow a negative cost from one album to be carried over to another album (cross-collateralization). If there isn’t another album the record company generally eats the loss.

There are many other costs that the record company will not charge the artists. This includes marketing and in-house promotions (free CD give away, etc.).

So how much does an artist make for a gold album (500,000 albums sold).

Check out the math:

CD (suggested retail list price SRLP) = $ 17.99 Less CD Packaging of 20% = $ -4.50 NET = $ 13.49 Times: Net artist royalty rate (12% – 3% to producer) = X 9% Gross royalty per CD (9% of $13.48) = $ 1.21 Times 500,000 albums = $ 500,000 SUB TOTAL = $ 605,00 Times: Royalty bearing % (15% o = no royalty) = X 85% Gross Royalty = $ 514,250 Less advances: Recording, promo, music video, tour = $ -350,000 TOTAL ROYALTY TO ARTIST = $ 164,250 – Reserves (35%) returned by retailer) = $ -57,487.50 (1) ACTUAL ROYALTY PAID TO ARTIST = $ 106,762.50

(1)Reserves will be paid to artist in 2 years if no CDs returned by retailer

Remember the artist still has to pay TAXES! Don’t forget Uncle Sam has to get his cut! Also, don’t forget the Personal Manger, the Attorney, the Accountant, the Agent and other numerous expenses.

However, there are many other royalties that an artist can acquire. They include, Record Clubs, Compilation CDs, Samplers (low-priced albums in which a few artists are featured), Premiums (albums sold with other products, such as cereal), Film Soundtrack Album, Music Video Sales, Greatest Hit’s Album, Foreign Royalties (song played in some foreign country radio stations pay royalties, unlike the US), Master Use License (music used in a movie, television, commercial, the Internet, CD-ROM and DVD), etc.

Of course, because of the Internet, the rules royalties are changing. Many people now buy their music via the Internet. Just think, no packaging required and no distribution to traditional retail stores needed. Some websites allow customers to buy individual songs as oppose to an album. Changes are currently taking place on how royalties are calculated because of the Internet. Many attorneys are pushing to have royalties be based on each song sold as oppose to each album sold. So stay tuned!

 

How to be Successful in the Music Industry Faster

By music business No Comments

You want to be successful in the music industry. You say you want to be a successful music artist or music entrepreneur. I have an important question to ask you: what does that success look like to you?

When you see yourself as a successful music artist or music business owner, what do you see? What is your vision?

Why vision is the most important factor in achieving long-term success:

Vision helps you answer ALL of the questions you have as an artist and music entrepreneur: How do I market my music? What clubs should I play in? What record labels should I send my demo to? How should I promote my music? Who should I market my music to? What type of music business should I start? Figuring out your vision first helps you answer these specific questions.

5 Reasons why you need a vision for your music career:

1) Vision gives you direction.

Have you ever rode in a car with someone who had no clue where they were going? It can be frustrating and stressful, right? You are in the driver’s seat of your music career. Where are you taking your career? Where is your career going? Vision gives you the ability to know where you are going in your music career. It makes your goal of becoming a successful artist more attainable. You will have more focus, less stress and less confusion because you will know the type of artist you need to be and the kind of music you need to create to get the success you want in the music industry.

Vision can help you handpick a personal success team (i.e. your manager, lawyer, agent) who is best for the career YOU want to have! It can help you assemble a team that can get you where YOU want to go and not where other people want you to go.

2) Vision stops you from wasting time and MONEY!

Let’s go back to our car analogy. A driver who is lost and has no sense of direction, can waste time and burn gas by driving in circles. Gas costs money! Not knowing what direction you want your music career to go in, costs too. It costs time and money. When you know the end destination for your career, when you have a vision of where you are trying to go, you can determine the best and most direct route to get there, saving you time and money.

3) Vision helps you get success in the music industry faster.

Having a vision for your music career can help you get success faster by giving you a strategy, a route to success. It can help you figure out the type of people you need to get connected with to help you get to where you are trying to go.

4) Vision helps you determine a plan to get to where YOU want to be.

There is a quote that says, if you don’t plan, then someone else will plan for you. Finding your own personal vision for your career leads you down the path to a life that will be most fulfilling to you. You will be fulfilling the dreams that you had for yourself and not the dreams that someone else had for you. You will be happier because you are being the artist that you want to be and that you planned to be. You are making the music that you wanted to make and living the life you wanted to live.

5) Vision gives you a way to measure your success.

Vision shows you how far away you are from success. Back to our driver analogy, if a driver doesn’t know where he is going, how will he know how far away he is from his destination. Imagine the driver stopping at the nearest gas station and asking the gas station attendant to help him get to where he is trying to go. The gas station attendant asks the driver, “Where are you trying to go?” The driver responds, “I don’t know, but I’ll know it when I get there.” How can the gas station attendant help the driver if the driver has not taken the time to figure out where he is trying to go? Where are you trying to go in the music industry? How will you know how far away from the success you are? Having a clear vision can help you keep track of how far you have to go to success. For example, if my vision is to become a platinum-selling recording artist, then I have a measurable way to track my success. I can keep track of how many records I sell. Is your vision of success in the industry clear and measurable?

What is the vision?

Vision is a long-term view or mental picture of the music career that you want to have. A vision statement for your music career defines and describes where your career is going; it sets the destination. It states the type of artist you want to become in the future. It is a forward-looking statement. It defines what success in the music industry looks like for you and your career.

A vision statement answers these questions:

What will your music career look like 5-10 years from now?

What will you be considered the best at?

What would it look like if you were successful as a music artist or music entrepreneur?