Joel in The Vault

Industry Profile: Joel Whitburn

— By Larry LeBlanc

This week in the hot seat with Larry LeBlanc: Joel Whitburn

If you consider yourself a music trivia expert, pull over to the curb because Joel Whitburn will run right over you.

Whitburn, who founded Record Research in Menomonee Falls, Wisconsin in 1970 and put together a team of researchers to examine in detail all of Billboard's charts, is the most authoritative historian on charted music in the world.

Since 1970, Record Research has published 122 reference books based on chart data from the various popular music charts, dating back to 1890. An impressive 28 books are in the current catalog.

Whitburn is also the author of a series of Billboard books published by Watson-Guptill Publications, including “Top 40 Hits,” “Top 40 Albums,” and “Top 40 Country Hits.”

With Rhino Records, Whitburn has produced over 150 hit-based compilations.

Record Research’s most popular book “Top Pop Singles” covers the history of Billboard's popular music charts. Like other Record Research books on such genres as country, and R&B, the book features each recording's peak position, date charted, weeks charted, label and information, and trivia on recordings and artists.

You guessed it -- Whitburn is a completist collector.

His vast music collection includes every charted Hot 100, and pop single to appear on the Billboard charts (back to 1936); every charted pop album (back to 1945); collections of almost ever charted country, R&B, adult contemporary recording; and every video to chart since Billboard began its video chart in 1979. He also owns a large picture sleeve collection.

Whitburn began collecting records as a teenager in the 1950s. As his collection grew, he began to categorize, and file each record according to the highest position it reached on Billboard’s Hot 100 chart. He went on to publish this information in book form in 1970. After reaching a licensing agreement with Billboard, his chart book business exploded.

The development of the juke box industry during the 1930s led The Billboard—launched under that name in the fall of 1894-- to begin publishing music charts. On Jan. 4, 1936 The Billboard published its first music hit parade; and, on July 20, 1940, its first Music Popularity Chart. The Hot 100 has been published since 1958.

It was announced this month that The Billboard Top 200 will now open its doors to older releases after finally eliminating a rule that prevented the discographies of Michael Jackson and the Beatles from being counted toward the week’s top-selling albums chart, Starting with the week ending November 22, 2009, older releases will now be recognized to accurately reflect Nielsen SoundScan sales in the United States.

Did you ever want to be a disc jockey?

Yes. My dream would be to put a (DJ) booth in the middle of my vault downstairs, and play anything in my vault. There are well over a million (records) to choose from. I would play General Douglas MacArthur (commanding music). Anything that came to mind from any era I would play. There’d be no format. (Listeners) would learn a lot. It would be fun, and they could participate.

I would play a Bob Newhart comedy track, play some soundtrack things or explore a song that had three #1 versions in 1945. Play all three versions, and have people call in to say what version was the best. Just have fun. Put the personality back into radio. That is what is needed to be done in radio. (When I was growing up) you couldn’t turn radio off. You would look forward to a (DJ’s) two hour show each day.

How many staff members do you have?

We have five full-time (staffers) and some people that come in part-time and do data entry.

Do you have an office warehouse?

I have an office set up at home, and an office at our main building over at Pilgrim Road (in Menomonee Falls). We have the fourth floor of an office building. I have a big office in my home with all of my research. I have a huge vault that I dug underground for my records. The collection has expanded to probably be worth millions.

You own one of the largest libraries of music books.

One of the office rooms (at the main building) is a book library. I have racks from floor to ceiling, except where the door is, filled with books on music. There are thousands of books that we refer to for research. I’ve also got all of the back issues of (music trades) Radio & Records, Record World, Cashbox, The Gavin Report; and all of the Rolling Stone magazines. The whole set.

Before having the vault, the records were upstairs at the house. We had racks everywhere--in the bedroom, the garage, the furnace room. The records were everywhere.

Does your wife share your passion of music?

Oh yeah. If I am busy doing something, trying to research an artist or something, I won’t be playing music because I’m working, and thinking hard. She will say, “I don’t hear any music.” She loves what I play. What I mostly play is stuff that is very rare, records that Bubbled Under. I really enjoy listening to things like Curtis & Del (Curtis Young and Delmar Loveday recorded for Monument Records in the ‘60s) that didn’t chart, but were regional hits. I really like hearing that stuff. Playing the #1 song doesn’t’ do much for me because it is so overplayed. You hear it too much.

[The Bubbling Under chart first appeared in Billboard's June 1, 1959 issue, and continued until August 31, 1985. It reappeared in the Dec. 5, 1992 issue, and continues to the present day. The chart represents songs that are close to charting on the Hot 100. However, many tracks fade away, and never debut on the Hot 100.]

You have over 130,000 45 rpm singles?

More than that. I’m sure it’s over 200,000 now.

Do you own a lot of 45 rpm picture sleeve discs?

I’ve got the largest picture sleeve collection in the world. Probably 18,000 records.

You own every album that…

I have every album that has ever charted (on Billboard). From the first album, including those 78 (rpm) album booklets from the 1940s (kept in a bound container resembling a photograph album), and those little 10-inch albums, and CDs. I’ve got every album that charted all the way up to today. I really don’t know how many albums I have. I don’t count. Every week, (the collection) just keeps growing. We keep adding racks. We have filled the vault, and we have built a second vault.

For years, you were buying up record collections from juke box operators, dealers, and music collectors all around America.

I once bought out a black (jukebox) operator in Greensboro, North Carolina, and I had to rent a trailer to haul about 78,000 78s and 45s back to Wisconsin. All R&B. Some of that stuff is worth hundred of thousands of dollars. All those rare labels like Chance with the Flamingos. It was all in there. It really helped me when I was working on my “Top R&B Singles” book. I was looking for either an R&B record shop or a jukebox operator. And I found one, and he sold me everything that he had in his shop. That was a load I can tell you. Those ‘78s were heavy. Boy, those R&B 78s from 1949, ‘50 and ’51 are gems. They are just beautiful.

Any record you can’t find?

“Otto the Staggering Drunk,” I can’t find that record. A listing shows the label abbreviation as POD which I assume is Polydor. I am afraid it’s a New Years’ novelty song. I’m not sure that it exists. I don’t know anything about it. There was Crazy Otto, Happy Otto, Der Schrage Otto, all those Ottos. I have exhausted my research on this. I can’t find it.

[“Otto the Staggering Drunk” was listed in Cleveland’s Top 10 records on Jan. 1, 1955 as “Otto The Staggering Drunk” by Otto. The label was abbreviated to POD, which is likely Polydor Germany. German honky tonk pianist Fritz Schulz-Reichel recorded in the ’50 as Crazy Otto, Der Schrage Otto, and Happy Otto.]

There’s a record listed on the Billboard chart that never existed?

There is one that Bubbled Under that I never found. I don’t think it exists. It is by a group called D.A., and the song is “Ready ‘N’ Steady” (on Rascal records) in 1979. Everything else I have in my collection.

What’s the worst record you’ve heard?

The worst record ever made in the history of the world was by (actor) Wally Cox. He came out with a black-and-white picture sleeve in 1953 with a song called “There is a Tavern in the Town” on RCA. I bought it because I bought anything with a picture sleeve. It’s so bad you have to play it again because you can’t believe how bad it is.

The Legendary Stardust Cowboy’s “Paralyzed” in 1968 is usually considered the worst record.

Well, this is the worse.

Obviously, you still own a turntable.

I have four record players. They all have different speeds, and different cartridges that I need. I have a guy I call, and he has everything. He specializes in (vintage audio). He’s one of the few guys in the United States that does.

How many iPods do you have?

I have blown through three. I am onto my 4th. I have a160 gigabyte iPod. It is almost filled up. I got a little less than 42,000 songs on it. I downloaded every song from my “Pop Hit Singles” book, back to 1940. Then I did every song that made the “Top Pop Singles” and “Bubbling Under” books. They are all in there at my fingertips in my music library, and in my iPod. For every song, I have put little stars—three, four or five. A record may only have got to #118, but it’s often too good not to listen to every so often.

Before your first book in 1970, you researched the Billboard singles charts for five years as a hobby?

I started in September, 1965. It was a cold and rainy Friday night. I had these huge stacks of Billboard in the basement on this huge table. They were stacked by year. I had started subscribing to Billboard in 1954, so I had these huge piles. I decided to go through them, and research the (singles) charts. I started in 1958 when the Hot 100 started (on Aug. 4, 1958). I thought that was the granddaddy of the charts.

The first card I wrote up was “Nelson, Ricky, ‘Poor Little Fool.’” That was the first #1 song on the first Hot 100.

You put the chart listings on cards?

Yep. I didn’t have a computer in ’65. I ran down to Brinkmans (an office supply store in Menomonee Falls) and picked up a tray, and a bunch of (index) cards. So I started doing (chart research) as a hobby.

How many records in the Hot 100 would you mark down?

The whole chart—up to 100. So the first chart took a long time. Then I would go to the next (Hot 100 chart) and I would just look for the new entries, and enter those. For the ones I had already written down, I would show their peak position. If a record went off (the chart), and came back on, I would put a dash dash, comma 82 or something. I didn’t do the Bubbling Under records, of course, then.

Back then, everybody only looked at the high chart numbers.

Exactly. I started putting little stickers on my records (noting) the peak position, and the year. (Before this) I didn’t know how high “Chantilly Lace” by the Big Bopper got (in 1958). I didn’t know if it was a #1 record or if it made the Top 10. What did it do? (“Chantilly Lace” reached #6 on Billboard’s Top 100 chart). I was able to go through and identify exactly where it had peaked, the date it first charted, how many weeks it was on, and the original label number.

I thought that doing this was really neat for my hobby. I had all of these cards. I’d go to a Fats Domino (card), and you could see where he got really hot, had a hot streak, fade, and then he’d come back strong. And, some times the A and B side would both make the chart. I thought that was really interesting.

There were a lot B-side hits in the ‘50s and ‘60s.

Yeah, guys like Fats Domino, Jackie Wilson, Elvis Presley, Ricky Nelson, Jack Scott, and the Everly Brothers all had A and B sides that charted.

It was also the era of independent labels.

Oh sure, I loved those independents labels like Gone, Cameo-Parkway, Swan and Vee-Jay. You got so tired of seeing Columbia, and RCA Victor. (Columbia Records A&R head) Mitch Miller wasn’t into rock and roll, and RCA didn’t have much rock. They picked up Duane Eddy, but his big hit-making career was over (Eddy never had another Top 10 single after leaving Jamie Records in 1961). RCA picked up Paul Anka after his hit-making career was over at ABC-Paramount.

The majors were so slow. In the meantime, the independents were moving fast, and they were having hit after hit. They had records that were flying up the charts, and it was so exciting. There were thousands of independent labels.

How did come to subscribe to Billboard?

It goes back to when I was 12. My mother used to take me out of school to shop all day at Gimbals, and some of the big department stores in downtown Milwaukee. Either my dad would pick us up from work or we’d take the Greyhound bus home (to Menomonee Falls). That day, we were in the waiting room at the bus station waiting for our bus. There was this huge magazine stand, and I saw this magazine, Billboard, which I had never heard of before. I didn’t know what it was, but I picked it out. In the back, there was a carnival section with advertisements for coin operators, and ads for baseball card displays where you could put them in drug stores and make money. I thought, “What a great idea.” I was a huge fan of the Milwaukee Braves, and a baseball card fan. Then I went further and there were full-page pictures of Frankie Laine and an ad for Rosemary Clooney being #1 in the nation. I thought, “Well, this is interesting.

It connected to what you were hearing on the radio?

It did because I was hearing all of these songs. I think Billboard was 15 cents. My mom gave me a quarter, and I bought it. I took it home, and I couldn’t believe it. All of a sudden, I knew what the #1 song in the nation was. I had no idea that there was a chart that told you that information. Of course, I didn’t have the money for a subscription. It was $10 a year then. I couldn’t afford that. But, in a couple of years later, when I was a freshman, I sent in $10, and I subscribed. Since then I haven’t missed a week.

You are 68.

I was at the perfect age, 14 or 15, when rock and roll broke. I was able to go down once a week and buy a record. I had to make that awful decision of what record do I buy this week, and what records do I leave out until next week. Sam Cooke was my favorite. Jackie Wilson was a close second. When I was in college, Jackie Wilson had “To Be Loved” (in 1958). I thought that was the greatest song ever made at the time.

You were also heavily into sports.

I played a lot of basketball. I’m 6 feet 6 (inches), and I played a lot of semi-pro sports. I was very active between record collecting, and playing hardball, baseball, and playing basketball semi-pro. I was so busy I never had time to get in trouble.

You grew up near Milwaukee. In the ‘60s, there were some great bands in the region, including the Legends, Paul Stefen And The Royal Lancers, and Destinations.

The Legends! I’m doing the regional charts in Billboard right now and, in 1962, the Legends were on the front page because they had a breakout single with “Say Mama” (first recorded by Gene Vincent & The Blue Caps). I was so excited to see “Say Mama” and “Bop-A-Lena. Paul Stefen did “I Fought The Law” (recorded by Sonny Curtis and The Crickets in 1959, and famously covered by Bobby Fuller Four in 1966). So, they are going to be in my next book. I’m going to put in all those breakouts from different cities so people can see what was hot in Minneapolis or wherever.

What did you do after high school?

I went to Elmhurst College in (Elmhurst) Illinois taking business administration. I was transferred to the University of Wisconsin in Milwaukee for two years.

You left after the first semester of your third year of college.

I was sick of working hard and spending all of my money on tuition. I wouldn’t have any money left. I’d work all year, working at nights, and all of that money went to tuition, and books. I just couldn’t go another year with no money. I wanted to get a car. I wanted to buy records. I wanted to have some freedom.

Were you able to find a job?

A friend of mine was applying for a job at Steel Sales Company, and he asked me to go with him. Instead of waiting in the car, I went inside because it was winter, and it was cold outside. They gave me an application. I filled it out and I got the job as a sales rep. An office job. They hired me out of about 45 guys who filled out applications that day. Their main office was in Chicago, but they had a big distributorship in Milwaukee.

You worked at Steel Sales Company for a couple of years. Then at Smith Corona, the typewriter and calculator company; and you were an office manager at Carnation Company. How did you come to work in the music industry?

I called Pete Stocke at Taylor Electric which was the RCA distributor in Milwaukee. I told him my name and that I loved music and that I would love to work in the music industry. He said to come in because they were looking for someone in a new venture they were doing. I came in, and he asked me about my past, and why I wanted a job. I told him about my record collection, and my research on the Billboard charts. He told me that 8-track tapes were becoming big in that area and he wanted someone to represent RCA (in Wisconsin and Illinois). So I got the job and I was going around setting up these 8-track tape departments all over the place. Everybody was getting into 8-track tapes, including gas stations.

We had a convertible, and I’d go around town playing all of these 8-track tapes. I had a player that I played 8-tracks with a light that felt the pulse of music and would light up at night.

Those were the glory days.

Oh yeah. I was working in the music industry. Charley Pride would come to town and I’d go out to lunch with him. I met John Gary, Chet Atkins, and Henry Mancini. This was from ’68 into early ’70. In 1970, I quit to go full-time into my research. I was just starting to run some ads in Billboard (for the first singles chart book), and the response was phenomenal. I thought, “Imagine, if I could spend all day working at these research things.”

How did the Billboard ad read?

It said something like, “The complete history of the Hot 100, artist by artist” for $50.” I came up with $50 because Billboard had been selling mimeographed sheets of their Hot 1000 hits for $50. But they were loaded with mistakes.

Billboard publisher Hal Cook called you after your ad ran because you didn’t have permission to use the chart.

No I just published my book. It was lucky I did because if I had asked Billboard, they probably would have said no. Then Hal Cook called me from Los Angeles. I wasn’t even sure who he was at Billboard--whether he was the editor or the publisher. He told me that he was the publisher of Billboard, and that I couldn’t use the Hot 100. That was scary for a young kid. But I told him what I did. I told him that I went through all the charts, and researched them. He said I had to get permission. He asked me to send him a copy of the book. So I sent him one. About two weeks later, another phone call came from Hal Cook. I thought, “I’m going to be told, “You can’t do this. This is illegal.” But he said, “I love the book. I love what you did.”

[The legendary Hal Cook became publisher of Billboard in 1962. His career included working at Vitacoustic, the Chicago independent label which had a #1 hit in 1947 with “Peg o’ My Heart” by the Harmonicats; at Capitol Records, where he was distribution VP; and being VP of sales at Columbia Records. He helped launch Warner Bros. Records in 1958 with Jim Conkling and George Avakian.]

Hal then invited you to Los Angeles to work on a license agreement.

Hal said that Billboard was in the process of doing a licensing agreement with Casey Kasem at KRLA for broadcasting (using the Billboard chart for the syndicated “American Top 40” show). He said, “Perhaps, you can do the publishing. We will work out two agreements.” So they gave Casey the license to do the Top 40 on radio; and they gave me the license to mine—M-I-N-E—their charts for a royalty. That meant I could do anything I wanted to, and they would give me the exclusive rights, and give me free advertising. They even gave me a column (in Billboard) which I did for a couple of years. They would let me put a coupon in for my books.

My wife and I were in Los Angeles for three days. I ended up with a 26-page licensing agreement with a lot of legal wording. I didn’t even read it because I just wanted to sign it, and get going. I wanted to do the album charts as well as country, and I wanted to do an R&B book.

Billboard had tried to do their own chart books previously.

Hal said, “We tried doing this, but it all fell through the cracks.” I’ll never forget that statement. They had tried doing it. What he meant was that they had a Top 100 chart which gave the initials of songs and artists. It was full of mistakes. I made all of the corrections because I had a huge record collection. I went through the charts, and crossed things out. They did the research, but they didn’t catch these things.

You can’t do these books without understanding and….

Having a passion. And I had a passion to get it right. To find the records. If I didn’t have the records, I would go out and search for them; buy archives out; and bring them home until I found the records. If I didn’t find them, I would run (want) ads and I would get records from all over the country. Then I would get the artist right; the title right; and I’d get the B-side and the label number correct. Everything. Billboard didn’t do that. I think that’s what he meant when he said, “It all fell through the cracks.”

Record Research’s first book was the first edition of “Top Pop Singles” with the yellow cover?

Yeah. I had to pay royalties (to Billboard) from the beginning on that. The agreement has covered every book I’ve ever sold. The first book after the agreement was “Top Pop Albums.” It was a paperback with a light lavender cover. Then we did country, R&B and easy listening (singles) books. We did “Rock Tracks,” “Hot R&B Albums,” and “Hot Country Albums.” “The Billboard Annual” is one of my favorite books because it arranges everything from the pop singles’ chart by year, and by rank order.

The radio community was your earliest customer?

Radio supported me tremendously at the very beginning. Almost everything in the first six months came from radio—disc jockeys, music directors, program directors. It was phenomenal the orders that came from radio stations—small and big ones. And overseas. We were getting orders from Germany, Britain, Spain, and Japan. Who in Japan would want a book on the charts in America? I couldn’t believe the people who wanted the information.

Why did you decide to have the label and the label numbers listed?

I think that’s really important because of all of the reissues, and remakes. There’s all of the music on iTunes. You have to have my books to know for sure what version it is. Gogi Grant re-recorded (her 1956 hit) “Wayward Wind” under a different label. Paul Anka re-recorded all of his early hits at RCA. You buy some of Ricky Nelson’s “Greatest Hits” albums, and you listen to “Lonesome Town” and it’s the wrong version. With my books, you get the original label of when the record first charted. That’s the version that you need if you want the original recording, and not a remake. So you have to get the original label and when the record charted. That was extremely important to me starting out, and it still is today in my books.

Billboard used to have multiple charts in the ‘40s and ’50s for pop, R&B and country.

They had three charts, Best Sellers, Jukebox and Disk Jockey charts. Then they combined them. When they didn’t combine them we researched all three week-by-week. We put them in our data base, and whatever date charted first was the day the record charted; whichever chart it peaked at was its peak position. At the end of the charts, (Billboard) had territorial and regional hits. We include those. We simply continued the numbering system to get in a lot of those obscure songs that showed a lot of action in, maybe, three different major markets.

Generally, from 1950 to 1962, there were about 22 major markets that were significant in breaking records. Those are the markets that we like to look at as far as regional hits in all genres, R&B, country and pop.

Your books show the three charts on the right side of the page.

You can see what it did on each chart. Some people swear by Best Sellers; some swear by airplay; and, of course, the juke box industry was probably bigger than anything in the ’50. Jukebox sales were phenomenal. It was accounting for almost 60% of all single sales.

Operators would come in weekly (to distributors) and pick up boxes and boxes of 45s. Jukeboxes were the craze. You went anywhere and there were these beautiful jukeboxes. Seeburg, AMI, Wurlitzer, and Rock-Ola were neck-in-neck (in competition) and they were everyplace. The jukebox operators were just thriving. It was a big industry and then it faded away. Today, it’s about non-existent.

And, there were no returns selling to jukebox operators.

No returns. The operators like Fishers and Mitchell Novelty here that I knew would put out their 45s that they had changed on Saturday morning. There’d be crowds waiting outside trying to get in. They’d put the 45s on spindles for people to go through. People bought everything. People liked to look at what the jukeboxes were playing. They figured that was more important than the disc jockey was playing. Everybody has their own opinion. So I put in all three charts (into the books) so you can judge by yourself.

Todd Storz got the idea for the Top 40 radio format from what was being played on Omaha jukeboxes in the ‘50s.

Of course. What people were willing to spend their nickels and quarters on, I think, told a lot about what people listened to.

Do you own a jukebox?

I now have three jukeboxes. I can’t tell you how many I have traded and sold. The first one I got was the Wurlitzer (Opus) 1150. We used it so much. I had this old guy come in—he was so old that he shook—to repair it all of the time. Finally, it got that you couldn’t repair it anymore. So I bought a couple of Rock-Olas and then a Seeburg. I have a roll-away AMI at my lake home. Everybody on the lake comes over to play it. I’ve got speakers outside. People love the bass on those jukeboxes.

“Pop Memories-1890-1954,” released in 1986, is my favorite book you have published.

So many people say that.

Was it the most difficult book to put together?

Yes. It took the most time because of working at the Library of Congress. We had to go there for three years of study, digging through all of the trade magazines to find articles, through sheet music—all that stuff to put together the week-by-week charts.

Talking Machine World used to feature chart lists in the early days from Edison, Columbia, and Victor Talking Machine.

There were like three major labels then, and they would each weekly print their top 10 sellers list. That gave us a good indication as far as combining that with sheet music sales, most played and most plugged songs. You had to look at everything each week. So that took a long time. Each week, we had enough ammunition that it all came together of what was the most popular songs in the county.

How did you weight the positions? Billboard’s chart positions are done for you.

We went by what was the biggest magazine or article or trade magazine at that time. In the ‘30s, it was a lot different than it was in 1910, for instance. Today, obviously Billboard is the main source. I’ve got Billboards going back to 1937. I bought two or three copies of each. I bought a lot of collections out. From 1937 on, I have everything.

It’s fascinating looking at The Billboard issues of the ‘30s.

Ahh, not only the ‘30s but also the ‘50s and the ‘60s. Mr. W.D. Littleford came to my house. He and (Billboard’s editor in chief and publisher) Lee Zhito were here. The two of them. They took me out to lunch. Mr. Littleford had his bow tie on. A very distinguished man. He loved my operation. He told Lee Zhito that Billboard should have something like this.

[Former Billboard chairman William D. Littleford, whose grandfather William H. Donaldson co-founded Billboard (as The Billboard) in 1894, died May 14, 2009 at the age of 94. Littleford spent most of his publishing career at Billboard Publications Inc. where he eventually became chairman emeritus in the mid-1980's. He was GM from 1943 until 1958, when he became president and CEO, positions in which he held until the sale of Billboard by his family in 1985.]

So much chart information can be found on the Internet today. You aren’t likely to see your books in radio stations anymore. Has there been deterioration in sales?

Well, I’ve kind of crossed over to the mass market—to the record collector, the record fan and the music collector.

Did that start with the mass market release of “Top 40 Hits?”

That was an agreement I worked out with Watson-Guptill Publications which Billboard owned. Jules Perel, (VP/dir. of sales) played the devil’s advocate and said, “Who’d want to buy a book with chart positions.” I said, “A lot of people would.” Look at what my (Record Research) books have done, they have exploded.” The 12th edition of “Billboard Book of Top 40 Hits” we just submitted three weeks ago. We’re hoping that it will be out by Christmas.

The Record Research books are more for the professional working in the music industry.

They are. They are much more detailed and include more interesting notes. There’s just so much more information.

Who are the customers for the Record Research books today?

Everybody and anybody. The “Top Pop Singles” book has been our best seller in the last two years. It has been selling like crazy since we added in all of the Bubbling Under information. The new one is out now. I don’t know who these people are that buy the books. They go onto our site, and they order books. Every day, there’s 30 or 40 customers buying books. It is just constant.

The new version of “Top Pop Singles” is more comprehensive than earlier versions.

You can go as deep as you want with the new edition because it includes all of the Bubbling Unders mixed in. So all of those regional garage bands, all those wonderful doo-wop bands all in there now. Even today, a lot of the modern rock and alternative (records) don’t cross over to the pop stations. Groups like Muse are so good. I love that music. These bands do go up the charts a little bit but not a lot. They do show up on the Bubbling Under chart.

When is the new “Top Pop Albums” book coming out?

We are working on a new edition now. We are adding a lot of classic (albums). It’s about time that we got representation from some of the great rock and roll artists that never charted. I am going to show at least what they did. That will fill in a little gap there that our customers were looking for. In the early decades, rock and roll albums did not chart, except for Ricky Nelson and Elvis Presley. Neither Chuck Berry or Little Richard made the album charts. It was all soundtracks, comedy albums and Mantovani.

Did Nat King Cole have the first charted album with “Nat King Cole Vol. 1”

Yes. In 1945 with 78s under name of The King Cole Trio.

Are the books available in digital form?

We do have “The Music Vault” on our website. You can subscribe and go on there, and it’s wall-to-wall data. You can see a U2 video or a photo of the original pressing—A-side and B-side, and the picture sleeve, cassette box, whatever we have.

Any thoughts of retirement?

Oh no. What would I do? I have such a passion for what I’m doing. I get the advance charts within a few hours (of being compiled). I can’t wait. I am so excited because there are going to be new artists, new songs that I haven’t heard. There may be a new song that might be my record of the year.

People see a person your age with white hair, but you can talk about the hits of today with any teenager around.

And, it pisses them off. I’ll have DJs visiting here who don’t play anything past 1979 and I will say, “Aren’t you playing the new Nickelback song?” That’s the kind of music I like today. I played “Gotta Be Somebody” six times in a row. I go to their concerts whenever they come to Milwaukee. I love that style of rock music. Rock music is my favorite style of music. “Chasing Cars” by Snow Patrol was my favorite song of 2006.

How crazy do you get hearing the wrong version of the song on the radio?

I don’t listen to radio much. I don’t. I have so much new music that I have to listen to every week because of all of the new (chart) entries.

What’s going to happen to the business when you pass away?

We are looking at museums and Hall of Fames that are interested (in the collection). I have been talking to different people. My daughter Kim (Bloxdorf) is the vice-president (of the company). The business will pass to her. She’s in her mid-40s. She’s really good at her job. She understands the business from top to bottom. She’s lived her whole life with this.

You read through your charts books, you get a snapshot of America.

You sure do. They tell you a lot about our culture.

Larry LeBlanc 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, the London Times and the New York Times.

.

Industry Profile Archives:
Mick The DJ, DJ/Enterpeneur 04/30/15
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, thebookingagency.com 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, Foxman.com 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
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, Turntable.fm 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
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
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
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, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Peter Shapiro, Ideal Entertainment 04/16/04
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
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
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
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, Twincloud.com 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, CultureCatch.com 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
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

.

Return to front page of ENCORE



© 2001-2017 Gen-Den Corporation. All rights reserved.
CelebrityAccessSM and Gen-DenSM are service marks of Gen-Den Corporation.

** ENCORE readers and those that utilize ENCORE features are bound by the ENCORE NEWSLETTER USE AGREEMENT. If you choose not to be bound by this agreement, please discard the e-mail and notify us of your desire to be removed from future mailings. **