Industry Profile: Steve Scharf

— Bob Grossweiner and Jane Cohen

Steve Scharf manages film and television composers and recording artists and oversees the creativity of the film and television division of Carlin America. All producers / composers and artists are through Steven Scharf Entertainment, while he represents the film and television catalogue for Carlin America. Some of his composers are also signed to Carlin. His 33 years in the recording industry has included record producing, A&R and music publishing as well as the management of record producers, film and TV composers and artists.

Between 1969-71, Steve was privileged to work with The Rolling Stones, Aretha Franklin, Boz Scaggs, Lynryd Skynyrd, R.B. Greaves, and with producers and engineers Ahmet Ertegun, Jerry Wexler, Tom Dowd and Steve Smith while apprenticing at the famed Muscle Shoals Sound Studios in Sheffield, Ala.

Steve worked at GSF Records in the early 1970's and held a staff editorial position at Cashbox Magazine in 1976, after which he became the head of A&R at Private Stock Records, overseeing The Mighty Pope, Blondie, Robert Gordon & Link Wray, Benny Mardones, Rupert Holmes, The Dirty Angels and Samantha Sang. Steve produced many artists during the late 1970's to early 1980's, including Robin Lane and the Chartbusters, Bob Halligan and Duke Jupiter.

After heading up the artist management/production company for Broadbeard Productions in 1989-1990, Steve formed Steven Scharf Entertainment, a producer/ management company, which he joint ventured with legendary music publisher Freddy Bienstock of Carlin America, Inc. During the past 12 years, SSE has been responsible for representing a wide range of international producers/engineers/re-mixers/songwriters/film composers, including Mark Suozzo, Dirk Powell, Rick Baitz, Miles Wilkinson, Darrell Scott, Michael Vail Blum, Shane Faber, Barry Goldberg, Didier Deutsch, Steve Lunt and Askold Buk and Miranda Hentoff. Steve also represents quite a few artists for film and TV placements, including Earth, Wind & Fire, Ben Folds, Swing Out Sister, and numerous independent artists. Canadian artists he co-manages with Graham Stairs include Sister Someone, Hush Hush, Beautiful 2000 and Blume.

"One of the key attractions of representation has been the developing and securing of artist's record deals with various major and independent labels," Steve says. "Having established a track record with the A&R community for introducing new artists through the producers, has made for a more multi-dimensional approach to management. Steve has brought international deals to the table for Canadian artists I Mother Earth (Capitol), Von Groove (Chrysalis/EMI) and Joydrop (Tommy Boy). Other artists that have been signed to labels are From Good Homes (RCA/BMG), Cotton Mather (ELM/Caroline), The Urge (Immortal/Epic), Steve Poltz of the Rugburns (Mercury) and Trickside (Wind-Up Records).

As Sr. VP of Creative at Carlin, Steve has been responsible for securing catalog acquisitions and consulting creatively with Freddy Bienstock on such artist/writers as Gang Of Four, Jim Steinman and Meatloaf, Siouxsie & The Banshees, Todd Snider and Great Big Sea. Steve is also a founding member and a vice president of the Music Managers Forum, U.S.A, and a voting member of NARAS.

What does the Music Managers Forum do?
We're the only worldwide manager's organization that represents the interests of all of our management clients. We've been responsible for turning the "Work For Hire" bill around and deleting that from all artists' contracts. We've also been directly responsible for getting the digital rights bill passed in Congress for all artists to be paid directly with no recoupability to their record company. As an organization, we sit on the board of Sound Exchange where we voice our opinions regarding what the RIAA and record companies say about future digital downloading and distribution of royalties to artists.

What are your views on free downloading of music from the Internet?
I'm conflicted. I believe music should be paid for. I also feel that if a new artist can get a little exposure, which would ultimately cause a person to purchase their music, the end result would be money to distribute royalties to the proper channels. I believe in downloading through sites like EMusic, where I have a deal for many of my unsigned artists.

How do you find film and TV placements?
I find film and TV placements through the many relationships I've developed over the years with the heads of the major studios music departments and hundreds of music supervisors. It also comes through the film composers I manage. There are also some professional listings that give me leads to follow. I work the Carlin catalogue and also have exclusive relationships with many independent and major artists such as Earth Wind & Fire and Ben Folds.

Can you describe the managerial experience you just had with Trickside?
Trickside was a great experience. I was able to take a four-song demo with Wind-Up Records. Their music was so accessible that we had a field day with TV and film placements; I would say about 15 placements in six months. The act is on a holding pattern while writing new songs.

How has management of acts changed over the past five years?
It's changed drastically. If you can't get radio and MTV in most cases you're over. Hard-core touring and Internet exposure for new artists is essential. Another way of exposing new artists that I bring to the table is through the cross-pollination of film and TV. I've been managing Darran Falcone from L.A. for a few years. He's very influenced by Bob Dylan, Neil Young and Tom Petty. Through many showcases and demos shopped to labels, with, unfortunately, disappointing results, I've now been able to create a big buzz by having him sing and co-write the end title theme, with one of my other clients, Barry Goldberg, to the Columbia Tristar/Showtime Series "Street Time". The producers and directors have embraced his music and have also featured five of his recordings in 11 episodes, not including his theme at the end of every show. I'm now about to put a soundtrack deal together which will set up his recording career.

It's harder than ever to get a label to develop an artist's career and stick with the artist. You have to be more creative than ever to break an act. As a manager it's great that the film and TV exists to expose these artists and build awareness and publishing monies for them along the way to success. This is what's different from five years ago!

First industry job
Apprenticing at Muscle Shoals Sound Studios.

Career highlights
Working Lynyrd Skynyrd in Muscle Shoals; VP A&R Private Stock Records; (Blondie/Robert Gordon/Benny Mardones/Samantha Sang); starting Steven Scharf Entertainment and venturing with Carlin America.

Career disappointment
Not producing Robin Lane & The Chartbusters debut album after successfully producing their EP that landed their deal at Warner Bros. Also the early demise of Private Stock Records.

Greatest challenge
Staying alive in the music business while keeping a positive outlook.

Best business decision
Not giving up on my dreams.

Best advice you received
Go with your gut instinct, it's all about songs and artists from the late Juggy Gayles, the late Larry Uttal and the late Lou Levy.

Best advice to offer
Stay focused. Take everything in that you can and fight the good fight.

Most memorable industry experience
Being offered the head A&R position at Private Stock Records by Larry Uttal while almost choking on an hors d'oeuvres at the TJ Martell Dinner.

What friends would be surprised to learn about you
All my real friends know who I am and what I'm about.

Office paraphernalia
Too many CDs.

Steve can be reached at 212-779-7977; e-mail: sscharf@carlinamerica.com