Photo by Travis Anderson

Industry Profile: Eric Peltoniemi

— By Larry LeBlanc

This week In The Hot Seat with Larry LeBlanc: Eric Peltoniemi

Eric Peltoniemi, 60, has been an artist, a songwriter, a graphic designer, a producer and a record label executive over a four decade career.

His biggest challenge has been taking over the reins as president of Red House Records three years ago.

For 26 years, Red House Records, located in the Merriam Park neighborhood in St. Paul, Minnesota, has been an American roots music institution.

The label was founded in 1983 by Bob Feldman. Peltoniemi was the label’s first employee three years later. He eventually became VP of production, overseeing much of the label’s in-house art and design work, as well as production, including sharing a Grammy for Ramblin’ Jack Elliott’s “South Coast” album in 1995.

Over the years, Feldman and Peltoniemi worked at crafting the structure of a remarkable label. Its catalog of nearly 200 albums includes works by such seminal urban folk artists as Greg Brown, John Gorka, the Wailin’ Jennys, Ray Bonneville, Guy Davis, Bill Staines, Claudia Schmidt, Kate MacKenzie, Chuck Brodsky, and the Chenille Sisters; stellar instrumentalists, such as Peter Ostroushko and Dean Magraw; and such respected veteran performers as Paul Geremia, “Spider” John Koerner, Utah Phillips, Adrian Legg, Eliza Gilkyson, Loudon Wainwright III, Robin and Linda Williams, Cliff Eberhardt, Archie Fisher, Rosalie Sorrels, and Ramblin' Jack Elliott.

Red House has also produced several outstanding thematic compilation albums. One of the best is the Greg Brown Tribute, “Going Drftless” with Lucinda Williams, Shawn Colvin, Gillian Welch, Mary Chapin Carpenter, Ani DiFranco, Iris DeMent and others. In 2008, the company issued a 3-CD 25th-anniversary compilation, “Red House 25.”

Feldman, who grew up in Florida, was teaching high school classes about business in Minnesota in the early '80s. His enthusiasm for Iowa singer/songwriter Greg Brown was the catalyst for his entry into the music business. When he saw Brown perform, Feldman was teaching a class called “How To Start Your Own Small Business With No Money” at Eden Prairie High School in the Minneapolis suburb of Eden Prairie, Minnesota.

In 1983, Feldman re-launched Red House, Brown’s dormant label, and re-issued the artist’s album “The Iowa Waltz.” Feldman loaded albums into his car, and sold them to gift stores and music stores throughout Iowa--25 at a time. Feldman’s initial success with Brown then attracted the interest of other regional performers in the upper Midwest, including Pat Donohue, Dave Moore and Peter Ostroushko.

With Feldman’s untimely passing on Jan. 11, 2006 at the age of 56, Peltoniemi assumed being the head of the label. Despite their closeness, it was an enormous shift at the label. Feldman not only provided an editorial ear for Red House, but his devotion to its artists was unequaled.

Under Peltoniemi’s watch, Red House’s roster has grown to include Jorma Kaukonen, the former Jefferson Airplane guitarist; such alt-folk artists as the Pines and Pieta Brown; singer/songwriters Danny Schmidt, Meg Hutchinson and Heather Masse; and R&B stalwart Willie Murphy.

Growing up in a small farming town of Wadena in central Minnesota, not far from where his father grew up, Peltoniemi began performing professionally as a teenager in the early 1960s. He spent several years touring North America and northern Europe, both as a solo artist, and with the bands Suomi Orkesteri and Trova.

During the years, he has shared stages with John Prine, Kate Wolf, Fairport Convention, Rosalie Sorrels, Mary Black, Värttinä and the late Robert Palmer.

Peltoniemi’s background includes a stint with the renowned Los Angeles album design firm Pacific Eye & Ear in the ‘70s.

In the ‘80s through to the early ‘90s, Peltoniemi worked extensively in music theatre, writing music, lyrics and books for 11 original plays produced on Twin Cities (Minneapolis and St. Paul) Chicago, Seattle and Los Angeles stages. His stage work included “Ten November” (a collaboration with Pulitzer Prize-nominated playwright Steven Dietz); “Plain Hearts” (with playwright Lance Belville); and “Heart of Spain” (with playwright Peter Glazer).

With its established brand identity, and reputation for first-rate music, Red House has a catalog that largely appeals to baby boomers, who until recently tended to buy music at retail stores or directly from performers on tour, rather than downloading music onto their computers or iPods.

Peltoniemi indicates that Red House, facing an industry in transition and turmoil, is adjusting to the new digital reality.

The loss of retailers like Tower Records in 2006, and Borders Books cutting back on music inventory, must have had a significant impact on the physical side of Red House’s business.

Absolutely. It is staggering how much (physical) sales have dropped off. However, our sales figures from artist sales off the stage are consistent. Our digital downloads have been exponentially growing. If it wasn’t for downloading, we would be in big trouble. Also our Amazon business is growing. Amazon and ITunes have filled the void for us.

Boomers haven’t tended to download music.

Well, I think the tide has turned. I have been talking to people in our demographic, and they now tell me that they are interested in their iPods and things like that. I was at a dinner recently with people I didn’t know, and I polled them at the table if they downloaded music. Almost all of them had downloaded once or twice.

The company's sales aren't enormous by major label standards. But you’ve got your 40,000 sellers.

That’s a big hit now. Our minimum we wanted to get out of an artist was once 10,000 to 12,000 (units). That’s pretty good record right now. We have some artists that, by today’s standards, are selling incredibly well.

It’s easier to release a record today; but it’s harder to get noticed.

It really is. It is a challenge. We are more careful today about where we throw our money because it’s hard to quantify how much of what is being done (to market and promote an album) is actually effective.

How do you figure out what to do on a release today?

We have lowered our expectations on brick and motor. We’re not throwing as many units out there. Borders will leave something on the shelf for a month or two, and then they send it all back. Then you have to store it when it comes back. So we are being a little leaner with our outlays.

Brick and mortar retail wants detailed marketing plan of where and when the act is touring and what your marketing spend will be before they commit.

Yeah, and a lot of that (marketing) is a waste of money. We’re trying to spend our dollars wisely. We really work radio. Radio makes a big difference. When we have an album that charts on Americana, that helps. "All Things Considered" being on NPR (National Public Radio) or (West Virginia Public Broadcasting’s) “Mountain Stage” will put (an album) through the ceiling for a week or so. We’re also doing more of the things that everybody else has been doing, like placing a song in television or a movie.

Do you have someone working that side?

Not on a regular basis. We are trying to do it with various people. We don’t have exclusives. Most of the success that we’ve had has walked through our door. There are some (shows) that we really cultivate like the Ken Burns’ specials and things like that. We have done a few of those shows. All of these little things count. And we try to build our artist and their audiences up on the road.

Like many folk labels, Red House has derived most of its sales from the high visibility of its acts on the road. Are off-stage sales still holding?

A lot of it is. That’s a very important component, but it always has been.

House concerts are growing in importance in the folk sector.

House concerts have become a lot more important. They are great places for artists to sell product. Artists tend to sell a high percentage of product at house concerts. Some artists enjoy them. I know that Richard Thompson does two or three just for fun. Some of the better ones, like in Los Angeles or Austin, are quite good. The thing I hate about house concerts is that (as an artist) you are trapped by your audience. Sometimes as a performer, you need that space away from the audience.

Does much of the roster work in Europe?

Certain artists. Not everything we do translates there. In England, and Ireland it does, and even Holland it does. France is horrible for anything but blues. Greg Brown, however, does well in France. Paul Geremia, Guy Davis, and Ray Bonneville all do great in Germany. We are starting to break some other artists over there.

Does it help that Red House has a distinct brand, and that many of your artists have brands?

They do. One of the things that Bob always believed in, as I did, is that when we chose an artist to work with, we were thinking in terms of a long term career, and a long term relationship. That this record we are working on now might not pay for itself or be the one (to break the act). That we were looking farther down the line. We are still doing that. For example, artists like Meg Hutchinson and Danny Schmidt, we think are two of the best writers we’ve ever worked with. So we are thinking of the long term.

Most of the acts Red House has signed have had records out previously. They have either managers or agents in place. Do you look at those factors in picking up an act?

Well, we do. Danny Schmidt has an agent and the Wailin’ Jennys had one (when they signed). Meg has one. The Pines were the exception. Normally, we would never have signed these guys. But, I just loved them, and I loved their work ethic. They were out there slogging in the trenches themselves. I have been struggling trying to get an agent for them. I try every so often. I know the whipping post with these (agents). The thing is that the Pines are doing well on their own. They are selling more than some of our other artists.

How big is the Red House staff?

We are down to 7 people. We were at 9. They are very talented. The talent runs deep in each position. The unfortunate thing here is that if one person goes a big chunk (of the company) goes. But it’s a great staff and they are very committed. A lot of them are very young, and they have a great energy.

Being based in St. Paul, Minnesota still seems odd for such an established label.

There’s a spirit and mentality in the upper mid-west that I think works to our favor sometimes. (Bob) Dylan talks about it, and other artists who come out of here do too.

Well, you did release the Dylan tribute album, “A Nod To Bob.”

Dylan’s office was very helpful and co-operative with us on the project. You know Dylan is here more than people realize. In fact, I didn’t even realize it. He’s got a farm north east of Minneapolis. I was talking to someone who works out there, and I asked if Bob got there once a year or so for the holidays or something. He said, “Well, he’s here more than you think he is.” That’s surprising. Nobody knows he’s here when he’s here.

Being near the Canadian border, you are close to Winnipeg which has a vibrant folk scene.

We’re in Minnesota so people think we’re the lost (Canadian) province. We are close to Winnipeg. Everybody here goes back and forth. Our big folk festival is the Winnipeg Folk Festival that everybody from here goes to. I grew up halfway between the Twin Cities, and Winnipeg, so I was there often. I remember some of the Canadian artists (from growing up) because I was close to the border, like Lenny Breau. I was always impressed with Lenny Breau. He’s one of the legends, one of the giants of guitar.

Proportionally, we probably have more Canadian acts for our size than probably anybody. Or as much as anybody. We have the Wailin’ Jennys (from Winnipeg), and Ray Bonneville. We have also worked with Dave Wilkie, Hart Rouge, Lynn Miles, Jerry Alfred, and the Paperboys.

What was the personal impact on you of Bob’s death?

It was, and continues to be, a devastating thing. When we started working together it was like, “Where the hell have you been the rest of my life?” We were instant best friends. Our families were intermeshed and very close. When Bob got married, his wife Beth and my wife became best friends. He had a son, and I had a son, and they are best friends. When we went on vacations, we went together.

It was more than business.

I felt like we were two halves of the orange in a sense because we filled the space the other one didn’t have. It was a very simpatico and complete partnership.

You found out that you were born in the same hospital a couple weeks apart.

It was Midway Hospital on University Avenue in St. Paul. We didn’t find out until years later that the homes that we were brought home to were across the alley from each other. We didn’t know each other until 1984.

How did you meet?

Before I met Bob, I had produced a couple of records for Bruce Kaplan at Flying Fish (Records) in Chicago. We were aware of each other because we lived in the same town. Bob was just working by himself at the time.

You had independently financed a “Spider” John Koerner album you were looking to place. He wasn’t touring, and labels weren’t interested.

That’s right. That’s what brought us together. I had independently produced that record (“Nobody Knows The Trouble I’ve Been” that Spin magazine would name as one of the Top Albums of the Decade). Bob had heard it at a party somewhere. When we met I told him that Bruce Kaplan (at Flying Fish), Sugar Hill and Rounder didn’t want to (license it) but that it was one of the best records I’d ever produced. He said, “I love that record. I would love to put it out.” So we started our relationship. When Bruce found that I was going to work with Bob he said, “Why do you want to work there? Singer/songwriter is dead.” That was mainly what Bob was into.

Flying Fish was a great label.

I don’t think Flying Fish was in too bad a footing before Bruce died. He kept (the label) small and he was good at what he did. He had a few good acts that sold pretty well, like Sweet Honey in the Rock, and the Red Clay Ramblers. So he was doing okay. But, the last thing that he wanted to put out was singer/songwriter music.

[In December 1992, Bruce Kaplan developed an infection that did not respond to antibiotic treatment and died very unexpectedly. After a brief period under the direction of long time employee Jim Netter, supported by Kaplan's widow Sandra Shifrin, a social worker, the label was sold to Rounder Records.]

Did you handle the creative side and Bob handled business? Or were the roles blended?

It was pretty much a true partnership. There were projects that were mine, and he would have his. I brought Guy Davis, Eliza Gilkyson, and Chuck Brodsky to the label, for example. I remember when I had been trading tapes with Eliza, and I had driven all night from up north, and I burst into his office, and said, “Bob, listen to this!” He was instantly as passionate (about her music) as I was.

Were there differences between you two?

I had more technical background than he did as far as recording and graphics and (working with) artists. I was kind of the production supervisor. Bob was the heart and soul, and the impetus (of the label). For a guy who wasn’t trained in music, he really had an ear.

Was there any consideration of Red House not continuing when Bob passed away?

Well, that was in my mind. I had seen what had happened to Flying Fish because of my relationship with Bruce Kaplan. How it was sold to Rounder and how it was not possible to sustain that vision when you had, basically, a force of nature leading the label and also a visionary not there. How do you sustain that?

How do you fill the shoes?

The one thing that was different (from Flying Fish) was that Bob’s wife Beth had always been a believer in what this label was about. She was adamant that his vision would be carried forward. Because we were close, she wanted me to do it. Also Chris Frymire, our COO, has been here almost from the beginning as well. So we had a lot of cultural memory here. It has always been team work. So for awhile, it was, “What would Bob do?”

You also had to go to the veteran artists on the roster and keep them under the tent.

That was it. And, everybody’s relationship with Bob was personal. Everything was family here, and that continues. The hardest part for me was the first few months. It was a state of triage around here. Emotionally, I couldn’t allow myself to go where it eventually had to go. It was very tough. But my staff pulled through marvelously. We also brought in lots of new talent, and filled some of those holes (on the roster).

Are we living in another golden age of folk music today?

I would say so. When I go to Folk Alliance, for example, the amount of young people that are now into traditional music is amazing. You go through the lobby and you see people playing string band type music. If they are doing original music, it is often through that channel or through that mentality. It’s pretty impressive. There was a real stale period (for folk music) for a long time.

Still, the folk culture has changed over time.

There’s so much more an enmeshment of culture today. It’s not the way it was years ago. I listen to some of these kids at Folk Alliance playing really obscure stuff, like from the North Carolina Ramblers (an American old-time string band that recorded between 1925 to 1930) and stuff like that and I think, “Where did those guys get this music?” I had to hunt for that stuff (growing up). I was one of the few people that knew about these guys when I was growing up. Well, they find (this music) on the Internet and other places.

After the collapse of the '60s commercial folk revival, folk slowly rebuilt itself into a grassroots community that functions on its own energy and free of the mainstream.

There was a scene change between the Vanguard and Elektra era, and when Red House came around. There was a scene change between Ian & Sylvia jumping to Greg Brown, for example. I wouldn’t say that there’s been a scene change since then, in the sense of a new generation of artists. Jumping from Greg Brown and John Gorka to Meg Hutchinson, and the Pines, that’s not as much a sizable shift because these are artists who have been out there doing everything themselves. Their expectations are entirely different (than the veterans). Because of the realities of the music business it’s harder for some of the older artists to accept what has happened.

Despite the talk about the folk genre being healthier today because there are more artists, there’s the problem that every act now has a record to sell.

That’s true. And let’s face it there’s far too many of them that really shouldn’t be out there working, as far as I am concerned. With the democratization of the digital revolution there’s no filter anymore.

Does that make it difficult to break newer acts like Meg Hutchinson, Danny Schmidt, and and the Pines when there are so many new acts out there?

That’s true. But, in Meg’s case, she had released, I think, two albums by herself. Danny Schmidt did the same, and the Pines had one album out on their own. In a way, I feel like we are becoming more important than ever before (being a label) because of that slew of artists out there To get your head above the water where people can see your face, you need that extra something. I hate to use the word brand in the commercial sense, but you need a brand attached to your artistry that says that you are different, and that you have passed some kind of a bar.

So many independent artists find it difficult balancing being a musician, and business.

Some do it better than others. (Organizing) really drains from the same creative sources that writing and singing draws from. It can really imperil your art. So, it’s great to have a great organization you can trust that values your artistry and allows you the freedom to do what you want.

Is it difficult for the newer acts at Red House to get attention against the veteran acts? At any label, there’s a pecking order.

Well, we try to peck evenly. We may not be able to allocate the same amount of financial resources (to each act) but there are alternatives. We still put out only a few records. This year we put out 12.

We have certain artists that we have to devote attention to because they are the financial drivers of the label. Artists like John Gorka, and the Wailin’ Jennys, which is the largest act that we have right now. Our second biggest artist is Jorma Kaukonen

One of the things that I do when I choose an artist (to sign) is that we really are a team when we we go through this process. I want everybody to a champion of the artist that we bring in. Some are better loved than others with one person or another here, but I want to sign artists that everybody can be passionate about. We wear so many hats, and we’re so small. We need to have that passion and that energy for every record that we put out. We can’t afford to put out a record that is not going to work.

As a consumer looking at a Red House CD, I know there’s a certain quality to the record. This is similar to when I bought records on Elektra, Vanguard, Atlantic or Prestige in the ‘60s.

Bob and I had grown up admiring those labels. They were the models that we were looking at. In later years, both (Elektra Records co-founder) Jac Holzman, and his brother Keith who was the senior vice-president at Elektra and ran Nonesuch Records (and who wrote “The Complete Guide to Starting a Record Company”), became mentors. Those are the people that we honored, and revered and who we aspired to be. Keith laughs because some times I remember more dates about Elektra releases than he does.

For many people of your generation their introduction of folk music was the Kingston Trio.

Absolutely. Mine was the Kingston Trio, and the Limeliters. Actually, a little bit earlier I didn’t realize that it was folk music but my dad liked Terry Gilkyson and The Easy Riders. They were kind of in that black hole between the Almanac Singers and the (‘60s) folk revival. They were in the middle there. They carried the torch in a way. Their biggest hit was “Marianne” (which, adapted from a Bahamian folk song, reached #4 on Billboard in 1957). They backed up Dean Martin on “Memories Are Made Of This” (8 weeks at #1 on Billboard in 1955). There’s a video clip of Dean with the Easy Riders standing behind him. It’s amazing how spare that is for a Dean Martin recording. Terry wrote the song. I loved that song when I was kid in the ‘50s.

[Terry Gilkyson and The Easy Riders also backed Frankie Laine on “Love is a Golden Ring” which reached #10 on Billboard in 1957. Gilkyson’s daughter Eliza Gilkyson records for Red House. His son, guitarist Tony Gilkyson, played with the Los Angeles-based bands Lone Justice and X.]

I can remember the excitement of going to see Peter, Paul & Mary.

Me too. I don’t think that Peter, Paul & Mary get enough credit from a lot of the so-called hip people of today. But, for many of them, the group was their avenue to folk music. They may or may not admit it, but it was the Kingston Trio, and Peter, Paul & Mary. I got interested into folk music through people like Peter, Paul & Mary, the Kingston Trio and then Bob Dylan.

What did you think of the 2003 mockumentary about a folk music, “The Mighty Wind?”

I loved it. I remember living in the Village (Greenwich Village) and my manager Bernie Clay got me an audition with the New Christy Minstrels. I couldn’t understand why because I was trying to be my own musician. I just went down and auditioned. I was accepted, but I passed on the offer.

Kenny Rogers was in the New Christy Minstrels.

Yes he was. In the first group, there were a lot of great people. There was Gene Clark from the Byrds, Barry McGuire, and Larry Ramos, who was later in the Association. And Kim Carnes joined later.

What period of time were you in New York?

I was there from ’71 to ’73.

The New York folk era had come and gone.

I know. I thought it was still there. I was on my way to Boston. In those days, you could stop and crash at someone’s apartment. I knew this woman in Chinatown, and I crashed there, and I just never left. I think I would have been better off in Boston at the time.

Do you perform anymore?

I have been trying to start again. I used to record for a tiny Finnish label EiNo Records, and they are now badgering me to do another record. The label went dormant, and has been revived. The people who now own the label are in their ‘20s, and they are after me to record again.

While a sophomore in high school in Wadena, you met up with the late American blues legends Reverend Gary Davis, and Elizabeth Cotten for a guitar clinic.

That was one day of my life that was a big turning point. I had no access to folk music other than my dad’s Kingston Trio records, and things like that. Everybody I knew that were musicians played country guitar with a flat pick or played rock and roll.

One of the arts centers in the Twin Cities had a (folk music) series they put on. One show was with (old-time singer, songwriter and banjo player) Dock Boggs, J.E. Mainer's Mountaineers and (clawhammer banjo player and guitarist) Clarence Ashley. I wish I could have seen that.

A couple of months later, there was Rev. Gary Davis, Jesse Fuller and Elizabeth Cotten. Part of the deal was that they had a guitar clinic for people who wanted to sign up for it the next day after the conference. I wanted to learn how to finger pick. So I talked my parents into letting me come (to town).

It turned out to be 4 or 5 people for each one (artist) sitting in a circle. A couple of the people who had signed up were beginners so (the session) was lost on them. I felt like the sessions were more the three of us. I studied Gary and Elizabeth very closely. I didn’t realize that these were probably the only two people who picked with just their index finger and thumb to play. I took that back home with me. I still to this day just pick with my thumb, and index finger.

I was supposed to get to play with (Georgia blues musicians) Jesse Fuller but he said, “I didn’t come here to do this.” He was a problematic guy to deal with. He had a couple of songs I loved like “Take It Slow and Easy,” and “San Francisco Bay Blues.”

[Elizabeth Cotten, in fact, developed her own original style. Her approach to left-handed guitar playing involved keeping the guitar in standard tuning but holding it upside down. This position required her to play the bass lines with her fingers and the melody with her thumb. Her signature style became known as "Cotten picking.”]

These performers were quite a contrast considering where you are from.

We were on the Mississippi, but not a real part of it. We had (the blues) but it dissipated down river. But, even into Davenport, Iowa (located on the banks of the Mississippi River.) which isn’t too far here, the blues was pretty solid. And jazz was. That’s where (jazz cornetist) “Bix" Beiderbecke came out of. There were blues in St. Paul, but not to the extent you would find it in St. Louis or elsewhere.

[Bix Fest is a three-day music festival held annually in Davenport, Iowa in tribute to internationally renowned jazz cornetist, pianist, composer, and Davenport native Bix Beiderbecke. The festival was started in 1971. 2009 was the 39th consecutive festival.]

From 1972 to 1974, you worked at Pacific Eye & Ear design studio, recognized as one of the premier album design firms in the country. Were you a graphics artist?

I wouldn’t call myself a graphic artist. I was more of a designer. I was an art major in college. I went to three colleges in 18 months.

That’s unusual.

You have to remember, it was still the “Summer of Love” (period). They didn’t think I was their type of guy, and they were right. They threw me out for my long hair and rebellious attitude. But I did study art. I have been into art my whole life.

How did you end up at Pacific Eye & Ear?

One of my managers Tony Grabois (who died Nov. 4, 2009) worked originally with Craig Braun who is one of the designers who did the Rolling Stones’ “Sticky Fingers” and did “School’s Out” For Alice Cooper. Tony was another designer; and he was more of a business guy. He started Pacific Eye & Ear. He was also interested in (music) artist management. He and another guy in New York took me on and worked with me for three or four years trying to get me a label deal. We never got the deal, but we ended up being lifetime friends, and he was a mentor to me up until just recently. He was a great man.

Back then, Tony didn’t want me to starve to death so he let me be a “Guy Friday” around Pacific Eye & Ear in Los Angeles. I eventually started doing mock-ups. I did my small part on packages for the Doors, and the Jefferson Airplane.

We did the first Doors’ album after Jim (Morrison) died called “Full Circle” (1972) and then we did “Long John Silver” (1972) for Jefferson Airplane. I was not a principal around there. But it was very educational, and I bring a lot of my experience from there to my work here every day. That’s where I met Jorma and all of those people...

Were you able to bring the experiences you had in music into the theatre in the ‘80s?

Yes. The first play that I did that had some success regionally in the mid west was “Plain Hearts” (with playwright Lance Belville) which was about women on the Great Plains. It was a lot of my own family stories, and other peoples’ stories. It was basically a folk opera because I was a folk musician. I was aware of some of the things that Ewan MacColl had done in Britain with music and theatre. So I was thinking about that sort of stuff.

We were also looking at (Bertolt) Brecht, and how with “Mother Courage” (“Mother Courage and Her Children” written in 1939) there would be a song, but it was not like music theatre in the “Oklahoma” sense. We were trying to write serious theatre where the song was almost a scene onto itself, and it propelled the story in a more artistic way. We fooled around with that model and that’s what we brought to “Ten November.”

[In 1986, Peltoniemi and Steven Dietz co-wrote the musical “Ten November “in memory of the S.S. Edmund Fitzgerald's sinking. In 2005, the musical was re-edited into a new musical called “The Gales of November,” which opened on the 30th anniversary of the ship’s sinking at the Fitzgerald Theater in St. Paul, Minnesota.]

What is the appeal of a play about the sinking of the S.S. Edmund Fitzgerald that sank suddenly on November 10, 1975 in Lake Superior?

It’s a very primal story. It’s about nature. Ultimately, we are all helpless in the face of nature. One of the things we latched onto while writing the play was talking about all of the other ships that have gone down on the lakes. We sort of abstractly look at humans and nature. It’s about loss. I think that’s why we were successful at (writing the play) and why the families and people who saw the show loved it. They thought it was cathartic. We were gratified by the response by all of the surviving families.

[The Great Lakes have a long history of nautical disaster; nearly 6,000 shipwrecks occurred between 1878 and 1898 alone, with about a quarter of those being listed as total losses. Some ships and crews simply vanished in storms. A number of marine preserves have been established that contain multiple sunken ships.]

Do you remember hearing the news when the Edmund Fitzgerald went down?

I was driving, and I heard the radio report. I perked up because my uncle sailed on the Great Lakes. He ran a ma and pa resort in the summer. When everything shut down, he got on the lakes. I had lived for a short time in (the Minnesota port city of) Duluth. I always felt connected to the lakes. Also, through folk music I was familiar with the old ballads like "Sir Patrick Spens" (the most popular of the Child Ballads) and all those tales about ships.

So, when I heard that the ship went down, I thought, “Someone should write a song about this.” It was the first thing that popped into my head. And, I thought that maybe I would do it. Then a couple years later, I heard Gordon Lightfoot’s "The Wreck Of The Edmund Fitzgerald" (1976) and I thought, “Well that’s been done.” And he did it so well.

When I graduated from high school in 1967, I went on a trip to Sault Ste. Marie (Ontario) and I believe that I watched the Fitzgerald comes through (the locks). I swear there’s a part of me that remembers the name Edmund Fitzgerald on the bow. I took pictures, and I have been searching of them.

How did “Ten November” develop?

I was working in the theater on the side for a long time doing music for shows. Actor’s Theatre of St. Paul came to me with some grant money wanting to do a creative script in a special project. They were very progressive. They worked with a lot of well-known national playwrights. They paired me with Steven Dietz, a great playwright. Steven and I were trying to come up with a concept. We had an entire plan on how to pitch this proposal for a play. As we were going to the theatre we were listening to Lightfoot’s "The Wreck Of The Edmund Fitzgerald" and Stephen said, “Why don’t we do a play about the Edmund Fitzgerald?” So we pitched them on that, and they said great.

As we were driving away I thought, “How the hell are we going to do this? It’s about a ship going down.” It turned into probably one of the greatest experiences of my life. It was one of those transcendental creative experiences that was really remarkable in that it was a play that ended up writing itself.

Through this play, like Gordon, we became very connected to a lot of survivors. We’ve gotten close to these families ourselves.

Did working in theatre spill back into your musical world? Theatre is collaborative, and in real time.

Theatre is live time, and it is a world that is brought to life for just a short time and then it ends. Very intense. When you are inside of a play, it is real. That’s the tough part of (the experience). I learned a lot about performance from people in the theater. I learned a lot about the pacing of an album. That’s less meaningful today with iTunes, but in the days when the album was the album song sequence, I would think about it in terms that it was like a play. “What’s our opening? What’s our 11’o’clock song?”

With iPods, it is difficult to have that experience of listening to an album.

That’s very true. My son is 17 and he’s totally into vinyl right now. I was listening to vinyl the other day, and it sure sounded great to me. The thing I miss about (vinyl) and, I didn’t realize until my son started buying albums, is that it is a tactile experience. You set the needle on this plastic. You can even spin the turntable with the sound off and you still hear the song. It’s just more real in that sense (than digital).

My son is getting into music through the world of hip hop. He’s in a group called the Last of The Record Collectors. They are really into vinyl. He’s going far back into jazz and stuff like that.

Do you have Red House vinyl?

It is expensive to manufacture today. We were approached by a company in Cleveland to put out Jorma Kaukonen’s last album (“River of Time”) on vinyl. It was a limited issue for a record store. It all sold out instantly. Now, we are thinking about getting back to vinyl on certain artists. I think it will primarily be with our younger artists.

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.

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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
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
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
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
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
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
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
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

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