Industry Profile: Barry Coburn

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Barry Coburn, co-president, Ten Ten Music Group.

Barry Coburn can’t stop talking about the music that he hears from his publishing and management roster.

For nearly three decades, Coburn’s Ten Ten Music Group has been a creative fixture on Nashville's Music Row, and the New Zealand native is credited for developing, and launching the careers of two of country music biggest superstars, Alan Jackson and Keith Urban.

Ten Ten has been wildly successful of late in the rock format, scoring hits with Papa Roach (“Burn” and “Kick In The Teeth), and credits on recordings by 3 Doors Down, Saliva, and Cavo.

Besides co-writing "Kick In The Teeth" and "Burn,” Ten Ten producer and songwriter Bobby Huff also co-wrote Drowning Pool’s recent hit "Turn So Cold"; and Halestorm’s "Bet U Wish U Had Me Back.”

Additionally, Huff also contributed to Shinedown's album “The Sound of Madness,” including its key track, "Breaking Inside.” Shinedown released a deluxe CD/DVD edition of “The Sound of Madness,” on Nov. 23, 2010 that featured nine bonus songs, including a version of "Breaking Inside" with guest vocals from Halestorm's Lzzy Hale.

Huff has recently been in the studio producing Halestorm, and Capra, as well as Aussie rocker Wes Carr.

Over the years, Ten Ten’s publishing division has had enormous success in the country field, yielding such hits as: Keith Urban’s "Somebody Like You" and "Tonight I Wanna Cry”; John Michael Montgomery’s "The Little Girl"; Alan Jackson’s "Between The Devil and Me"; Martina McBride’s "Wrong Baby Wrong"; Love and Theft’s "Runaway"; and Reba McEntire's "Turn On The Radio.”

Jerrod Niemann’s current country hit "What Do You Want" was co-written with Ten Ten artist and writer Rachel Bradshaw, who also provided backing vocals on the track, and appears in the music video.

Robert Ellis Orrall, Ten Ten songwriter and producer, had multiple cuts and production credits on Taylor Swift’s 2006 self-titled, debut album that peaked at #1 on the Billboard Top Country Albums and #5 on the Billboard 200. Additionally, the song "Crazier" which Orrall co-wrote with Swift, was featured on the “Hannah Montana: The Movie” soundtrack in 2009

Ten Ten has long been quick off the mark in securing film and television syncs including landing the Tim Finn song "Winter Light” in the 2005 worldwide blockbuster film “The Chronicles of Narnia: The Lion, The Witch, and the Wardrobe” which grossed over $300 million in the U.S. alone.

Coburn and his former wife Jewel, a respected country singer in her own right, co-founded Ten Ten Music Group in 1984, four days after being married in New Zealand. The Coburns moved to Nashville from Melbourne, Australia—having stopped in New Zealand to get married.

After arriving in Nashville, they set up their office at 1010 16th Ave., the former Almo/Irving Music building. They stayed there for about seven years before moving to their current address at 33 Music Square West.

Coburn had started a publishing company, Coburn Music, in 1971 (it remains their BMI company; Ten Ten Music is their ASCAP company), and had been involved in publishing while down under.

Primarily, however, Coburn was a promoter in the ‘70s, overseeing concerts in New Zealand and Australia for Elton John, Led Zeppelin, Black Sabbath and Duke Ellington. He also managed Split Enz.

On a limited budget during their early days in Nashville, the Coburns started out doing single song deals with young writers to build a catalog.

It took Ten Ten five years to get its first hit single, Jo-El Sonnier's “If Your Heart Should Ever Roll This Way Again.” Soon after, Ten Ten had a hit with Keith Whitley's “I'm Over You,” and then "Here in the Real World," which kicked off an incredible hit run for Alan Jackson in 1990.

To his surprise, Coburn found himself in demand as a manager in Music City. After being asked by Lacy J. Dalton to handle her management a few months after he had arrived in town, he then signed Holly Dunn. In time, he would manage BR5-49, Suzy Bogguss, and Diamond Rio as well.

In 1988, Coburn signed newcomer Alan Jackson as a management client, a relationship that spanned the next six years. During this period, Coburn got Jackson a hefty record deal with Arista Nashville, and worked tirelessly to develop, and promote Jackson's career.

Ten Ten Music Group also worked with New Zealand-born Australian, country music singer Keith Urban as a songwriter from 1991 through 2005.

In 1999, Coburn became president and CEO of Atlantic Record’s Nashville division, building a formidable roster that included John Michael Montgomery, Tracy Lawrence, South 65, Tim Rushlow, Craig Morgan, Old Dogs, Kristin Garner, and Elizabeth Cook.

In 2001, however, Atlantic shuttered its 12-year-old Nashville office. Twelve of the label's 13 staffers were out, including Coburn, who returned to the music publishing and management fold.

How many songs in your combined catalogs?

A little over 13,000 songs.

Music publishing has become more competitive in recent years as record sales have waned.

Yes, there’s competition, but we have spread our wings so much that we now have a lot of activity in rock—a lot of activity. It is also important that we get cuts (covers) in Germany, Australia and Japan as well as in L.A. and New York when we can. Our attitude is that we have to reach out, and be everything. That works great for the writers who work in different forms like Tia Sillers, who is a great classic writer. She has written (on) all of the new songs on the new Kenny Wayne Shepherd which is coming out on Roadrunner Records.

You have charted with at least one single in the rock Top 10 now for weeks.

It just keeps coming. We had a Top 5 single with Papa Roach (“Burn” which followed “Kick In The Teeth” both co-written by producer/songwriter Bobby Huff). Bobby has tracks on so many different projects. He’s doing really well. He’s got the next 3 Doors Down single. We’ve also got the new Saliva single. Robert Ellis Orrall is also doing a lot of things in multiple formats.

We have a new girl called Porcelain Black. She’s on tour with Lil Wayne, (blink-182 drummer) Travis Barker and (Miami rapper) Rick Ross. This is an act that I developed for four and a half years. Her first single (“This Is What Rock ‘N’ Roll Looks Like”) has just come out on Universal Republic. The album was produced by RedOne. We developed the project, and we publish her.

[Born Alaina Beaton, Porcelain Black grew up in Detroit and previously recorded under the name Porcelain and the Tramps for Virgin Records.]

Have most of your writers been signed for full publishing or on a co-publishing basis?

It’s a mix. It depends on the writer. I can tell you that a lot of deals in Nashville are going back to full publishing because the investment is so high; the costs of operating are so high; and the returns are so minimal. The (CD) sales aren’t there.

Co-publishing supposedly is a partnership with the songwriter, but the music publisher often does much of the work.

(Co-publishing) gives songwriters an ownership (position), but (as a publisher), you have to be incentivized. Every day people want to sign with us. We don’t sign many people. We have a very small roster. We have nine writers, but they are spread around. Two or three of them aren’t especially active, but the others are. We expect them to work in this kind of environment. If you are pushing someone uphill, it’s like pushing a piece of rope with jelly uphill. It’s no fun.

How big is your staff?

We have six full-time and two part-time staff. Basically, the six people in here every day are all actively looking for opportunities to maximize the catalog. We have an amazing team of people who feel the same way (about music publishing). Patrick Clifford (VP of A&R) doesn’t shut up for five minutes. It is just constant (activity) here. Everybody is going for it. We have a team. We are only successful if our writers and producers are successful.

You and Jewel divorced last year.

And, we’ve stayed in business together. We were married for 26 years, then we divorced, and we decided to carry on (working together). We’ve got two sons, 18 (Glenn) and 19 (Tyler). They are involved in the interest of the business. Glenn works part-time in the office. Tyler has a band (Gnarwhal) that tours constantly. He played 17 cities in 18 days recently.

How do you split duties at the company?

Jewel works the country format pretty closely in Nashville. She also works in L.A. for film and television. She has a lot of contacts out there. Patrick travels a lot. We try to have someone in L.A. once a month—one of us. We have another great A&R guy Daniel Lee who liaises with international. Our catalogue manager Amanda (Cirotto) does some pitching as well for commercial and film. Mark Weiss (VP of business affairs) works commercials and advertising as well as being our head of administration.

The company doesn’t have partnerships or co-ventures.

That’s how we operate. We can move quickly. It’s one of the reasons we really do well with film and television. We have had dozen upon dozen of syncs (sync licenses) this year, and it’s because we can clear them instantly. If Fox Television, NBC or Warner Bros. Pictures communicate with us this afternoon, asking if they license something, they are going to get a clearance or a negotiation immediately. They will get a quote from us immediately. If they go to Warner-Chappell, Sony/ATV or EMI, it could take them weeks, by which time the film is already shot or the TV show has already been shown. We base what we do on service and being sensible. I never give our music away for free unless there some gratis use that makes sense.

Are you managing anymore?

I’m managing Bobby Huff as a producer, and we manage Robert Ellis Orrall as a producer. Then we have Rachel Bradshaw that we are developing. She’s the daughter of (Hall of Fame quarterback) Terry Bradshaw. She has a top 10 single now with “What Do You Want” that she wrote with Jerrod Nieman. She’s a great writer.

When I joined Atlantic Records (in 1999), and ran Atlantic here, I stepped away from management. All of the staff that was working for me at the time went off and joined Gary Borman and other people. I haven’t really stepped back into (management).

Wouldn’t it be natural today representing the artist also as a songwriter, and, maybe, as a producer for varied revenue streams?

I agree. There was a long period where it was regarded as being a conflict of interest if you were more than one thing. When I signed Alan Jackson and managed him, just before I got his record deal (with Arista), I got half his publishing back for him. I borrowed the money, and bought (the publishing) back from Glen Campbell, and I gave it to Alan. I never took that publishing. Alan said, “Well, you should have it.” I said that I thought it would be seen as a conflict of interest. He was like, “Well, you have really helped me develop my songwriting, I think you should have it.”

I offered that publishing to some of the big publishers here, and no one would take it and the price I wanted, which wasn’t a very expensive price considering that cassette of songs that I took around ended up having eight #1 songs on it.

Many managers now operate labels and publishing companies.

We see it all of the time now. Managers like Allen Kovacs, who is also the record company and has a piece of the publishing. It is becoming the way. We certainly see situations where we feel—especially with our rock activity—that we really should manage because we know what’s going on.

Frequently, when you are the publisher, you are the investor (in a project). You are the artist development. You are paying to develop the tracks. And then, if you don’t participate in the other things, you are probably being stupid, and you are not being what the business expects now.

You are absolutely right. I think there is a space now where we could be the manager and do others things. We certainly do look at that when we look at bands. Often I have a young manager who knows enough to be good but he also knows just enough to be dangerous, and cause problems for everybody. Perhaps, we should bring them in-house. Between myself, and Patrick Clifford, we can certainly provide them with a lot of information that they could use to maximize the career of an artist.

Nashville has always been centered on music publishing.

It is an important part of everything. Our reach (as a publisher) is so much different than it was five years ago. We find that the majors will have an artist that they are keen on, and they will ask, “Can you help us develop some tracks? We aren’t quite clear which way this is going to go.” Bobby Huff has certainly played a part in developing some artists. We’ve got four projects coming up on major labels in the next six months where I really feel that we have been a major part of the A&R process.

When labels invite you into the developmental process, does that mean you are paying for the recording of demos and tracks? Or do they just want your expertise?

No, we end up carrying a lot of the costs. But recently, I have been pulling back and going, “We’re not going to do that.” Labels are going, “What do you mean you aren’t going to do that?” I say, “We are not interested in being involved in a situation where you are going to have 50 songs written for a project.”

The problem is that the younger babies are going to the more beautiful babies. The artist may have something to say in the first 20 song or 10 or 15 songs, but after that they are just burned out trying to come up with new things. The songs that were written at the very beginning are (usually) the best ones. They have the more interesting ideas. They have got things that the band or artist wants to say. They are great but, because the label spent 18 months or two years trying to get the project right, you will find that a project will stall. You will be going, “Wait a minute. We’re not even going to get on this record,” although you have spent a lot of time and money into it.

A songwriter often has to co-write with the artist whether they want to or not.

Or whether the artist can write or not.

In many cases, if you want to be on the album, you are co-writing with the act.

You absolutely are.

You were an outsider to Nashville when you arrived in 1984. What did the labels there think of you managing their acts?

When I walked into Columbia for the first time for a meeting with (senior VP) Rick Blackburn and the other staff members, I told them, “On this new Lacy J. Dalton album, I want to sell 250,000 units.” They said, “Are you flipping crazy?” I said, “No.” They asked, “So, how are you going to do that?” I said, “I can sell 150,000 units in Australia where the population is minimal.” They were like, “Well, that’s not going to happen here.” Anyway, we tussled quite a bit.

On the next Lacy J. Dalton record a year later, I called up Joe Walsh, and asked him to produce the album. He said that he wanted to. I went into Columbia, and I said that I wanted Joe Walsh to produce her album. They just thought I was insane. They said, “What does he know about country music?” I said, "Have you ever listened to Dan Fogelberg?" (Walsh had produced Fogleberg’s 1974 breakthrough album “Souvenirs” with his first major hit "Part of the Plan"). He understands acoustic instruments really well.” Anyway, they wouldn’t let me do it with Joe.

You also managed BR5-49, Suzy Bogguss, Holly Dunn and Diamond Rio.

It was an interesting experience for me, and I was learning all the way. I started to create good relationships with concert promoters all around the country as I got out there with my acts more and more. I got to know the people at the TV shows, and everything else. All of this prepared me to start developing other artists. I was always looking at rock things. I managed blues guitarist Joe Louis Walker. We had quite a bit of success with him. Management was good over the years. I enjoyed taking Alan Jackson from zero (to stardom). Getting him the record deal with Tim Dubois and Clive Davis at Arista. Clive came to Nashville to convince us that we should sign as the first act to Arista Nashville. I actually turned him down, and said I had to think about it, but then I signed Alan there.

[Alan Jackson spent 22 years on Arista/Nashville—charting 35 #1 songs, and selling nearly 60 million records during that time. He recently announced that he'll be joining Capitol/EMI Records Nashville on a roster that includes Lady Antebellum, Keith Urban, Darius Rucker, and Dierks Bentley. The new partnership reunites Jackson and Mike Dungan, president and CEO of Capitol Nashville and former GM of Arista/Nashville.]

What was Alan Jackson’s appeal to you?

I really liked him, but it took me 18 months to get the music right with him, getting all of the songs written. When we got it right, it happened very rapidly. Alan would come into the office and ask, “When are you going to get me a record deal?” And I would say, “When you write the songs.” That was the weekly mantra.

Then he started his run of 13 consecutive #1 hits at Arista/Nashville.

When you look at him now, I think that he’s one of the greatest songwriters since Merle Haggard. I don’t think there’s been anyone that has come near him in terms of the large body of work that he has done, and the large body of hits.

That was a hell of a streak of hits for a newcomer.

It was an amazing run. There are so many stories related to all of that time. And he was writing. When we did the showcase that caused Tim Dubois to sign him, Alan performed nine songs. We had done three showcases in two weeks. For the last one he did (for Arista/Nashville), he did nine songs, and all nine are on the first album [“Here In The Real World”]. The first album had four #1s on it. We had the album recorded 14 days after Tim saw the showcase.

How difficult was the parting between you and Alan after six years?

It took me by surprise. I knew that he was having difficulty just accepting someone telling him things, but I feel that managers have the obligation to tell their artists the truth.

It’s tough breaking with a client after such a period of time.

It is tough. Alan has moved (his management) a number of times since then. He just generally doesn’t want anyone to tell him what to do. You can see a lot artists who don’t trust those around them, and therefore they don’t take their advice. The problem is that everybody needs someone who can, at least, be honest with them. Alan struggled with that (with me). He’d come to me and say, “Why am I doing these interviews? George Strait doesn’t do as many interviews as I do.” I’d say, “What can I tell you? It’s your career.”

Did you know Keith Urban when you were living down under?

I didn’t, but Jewel did because he had played guitar in her band when she was the Australian female vocalist of the year.

Were you involved with his trio The Ranch?

Oh yeah. From the time that Keith came (to Nashville) we got involved. Right from the beginning. We supported, and funded everything.

[In 1992, New Zealander Keith Urban moved to Nashville, where he found work as a guitarist for Brooks & Dunn. He can be seen backing Alan Jackson in his 1992 music video for "Mercury Blues.”]

Another hard parting?

Well, it took six years to really get any return from (working with) him. We invested for six years in him. We had a significant amount of money invested in developing him. We published him for 13 years.

A difficult week for you must have been closing down the Atlantic Nashville office in 2001, and letting its staff go.

Yeah, it was. I was in New York City sitting with (the label executives) when it was decided. I had a lot of product in the can that was never released. We then had a big record with John Martin Montgomery and some other projects were clicking. It was that typical merging thing (after AOL purchased Time Warner). It was a cost-cutting measure.

[In 2000, a new company called AOL Time-Warner was created when AOL purchased Time-Warner for $164 billion. Unfortunately, the growth and profitability of the AOL division stalled. In 2009, Time Warner spun off AOL as a separate independent company.]

For me (the closure) was tough for a lot of reasons. But I’m thrilled to look back from the stand point that my first two signings there were Elizabeth Cook and Craig Morgan. Craig Morgan has proven to be a real act; and Elizabeth Cook is critically acclaimed, and has toured a lot internationally.

The fact is that it was a good experience for me. I had been a manager. I had been a publisher. I had owned an agency, and I had been a concert promoter. So it was good to add that (experience).

You were a concert promoter for many years.

I did it for 14 years in Australia and New Zealand. I started in New Zealand, and then I moved into Australia. Elton John, I did with my partner in ’71; Led Zeppelin in ’72; Duke Ellington in ’72; and Muddy Waters and Willie Dixon in ’71 and ’72. I did Dave Brubeck in ’73.

In ’73, I went out my own. I did Black Sabbath in January of ’73 by which time I was 23. I moved to Melbourne, and did 13 shows in Australia with them.

How did the American and British agents treat you? American acts rarely went to Australia in those days.

They were starting to. My problem was that I was in New Zealand. I would call and say that I’d just want (the act for) New Zealand and they’d go, “No no no.” At the time, in the early ‘70s, (the American and British agents) didn’t like the Australian promoters. This was before (Michael) Gudinski and (Michael) Chugg really got going. They were just starting to get going. Agents would say, “You have to take Australia.” By 1973, it was, “If you want the act, you have to take Australia as well.”

Was there any question about your age? You were only 22 in 1972.

A lot of agents didn’t see me until late ’72 by which time I had already done Led Zeppelin, Elton John and Duke Ellington shows. I think that people didn’t realize (my age) until I arrived in London in April of ’72.

The international contacts you were making must have been helpful.

When Led Zeppelin toured for me, I asked their manager Peter Grant, and their road manager Richard Cole, “Who is the best concert promoter in the world?” They said, “Tats Nagashima in Japan.” I said, “I’d love to be able to go and see how he does it.” They said, “Well, let’s set it up.” They got on the phone and called Tats Nagashima. They set it up for me to go. I went on tour called “Ten Years After Versus Procul Harum” for a week—four cities in five days. I got to see how (a tour) all worked from a great standpoint. That really gave me a lot of inside information.

[The late Tats Nagashima was one of the first concert promoters in Japan for international acts. Practically every international artist who performed in Japan for decades was promoted by Nagashima’s Taiyo Music, which he founded in 1962. This includes Nat King Cole, the Beatles, the Rolling Stones, the Monkees, Peter, Paul & Mary, the Ventures, Cliff Richard, Simon and Garfunkel, Led Zeppelin, Michael Jackson, Madonna, Kiss, Elton John, Paul McCartney, George Harrison, Eric Clapton, the Eagles, Stevie Wonder, Janet Jackson, U2, ABBA, and Diana Ross. Nagashima passed away in 1999.]

Before London, you had stopped off in India, and later you came down with dysentery.

Then I was in the hospital in England while I recovered from having dysentery. When I finally got into the hospital there, I weighed 112 pounds. While I was in England, I did the deal for Black Sabbath with Don Arden. I went out to his mansion on the edge of Wimbledon Commons, and we shaped the deal. He said, “Okay, when are you going to New York City?” I said that I was going in two weeks time. He set it up for me to meet with Ira Blacker and Jeff Franklin at ATI (American Talent International), who were the agents for Black Sabbath. They wanted the deal done out of the U.S. So, I met with them on my second day in New York City. My head was still spinning. I was trying to work it all out and I was recovering from dysentery.

By this time, you had started managing Split Enz?

I was managing Split Enz from ’72. I managed them from the night they played their first-ever gig, I saw them and I told them how much I loved them, and that I was a concert promoter in New Zealand. We got together the next morning, and I became their manager. I had them on a lot of tours. The first opening act (spot) I put them on was with John Mayall and the Bluesbreakers. Then I put them on at Now Are Hear, a big festival that I staged. I put them on immediately prior to Black Sabbath, which wasn’t a good move. It was 11 P.M. on a Saturday night.

How difficult was it trying to establish Split Enz outside Australia and New Zealand?

That was a hard battle. It was really hard. When I look back now, I wonder how we made anything work. We didn’t have Email. We didn’t have cell phones. We communicated by mail and by telex. It was so hard early on to contemplate bringing acts (over to North American) and sewing up things. But gradually, as I met more agents, managers and people over the years, I was able to build up this network of people that I could work with.

You continue to work with Tim Finn from Split Enz.

About seven years ago, Tim and Neil Finn came over for dinner one night, and Tim asked me if I’d be interested in structuring a publishing deal for him. So we published all of Tim’s songs for the world outside of Australia and New Zealand.

Tim has a new album coming.

Yeah, he’s been back recording with Jacquire King producing. We just got the final album, and it’s really nice to hear it. It’s really good. we are starting to get it out to (label) people.

Like the Finn lads, you are from New Zealand.

I grew up in Christchurch which there is not much left of after the earthquake.

[Christchurch was severely damaged in the 6.3 earthquake on Feb. 22, 2011 After five weeks, the city center is still cordoned off The shattered heart of Christchurch has been named the red zone, and is under 24 hour surveillance by police and the military. Buildings are unstable and many facades have fallen, leaving stores and merchandise open to the streets.]

Your father was a band leader. Did he come to your Duke Ellington show in 1972?

Unfortunately, he had passed (away) by then. He would have been so proud. He had a dance band, and a weekly radio program in Christchurch. His band was so good, and the arrangements that he wrote were fine.

I have these amazing recordings of my father’s orchestra. I got the (vinyl) 78s from my mother about nine years ago. I brought them back to Nashville so cautiously in my hand luggage, and then I took them down to the Country Hall of Fame which has a facility to transfer early recordings, and do transcriptions. I got them to do a dub of all of these 78s. Then they transferred the recordings to a digital file. Georgetown Master is right beside us in our building. (The late mastering engineer) Denny Purcell, who did all of the mastering on all of the Neil Young and Mark Knopfler albums and endless other records, he re-mastered these for me. Then I made CDs, which I sent to the ex-band members of my father who were still alive. There were only three them still alive.

Were these commercial recordings?

No. They were radio programs. He had the Merv Coburn Orchestra (on Radio New Zealand). I got them transferred, and I got them all cleaned up. I had just got the CD and I was playing it at home one night when Steve Cropper and Jim Horn were over for dinner. Jim said, “Is that a Duke Ellington record? I haven’t heard that before,” I said that it was my dad. Jim was like, “What?”

You must have grown up with a lot music in the house.

It was great. I grew up with (my dad’s music), and I started sending overseas for music when I was 14 or 15. I started sending over to a record store in Wardour Street, The Record Exchange. I used to get Melody Maker. I had subscription that would come surface mail. It would get there six weeks later. I would look through it and I would trust emphatically Richard Williams and Chris Welch. I would look at their reviews and get postal notes and send over for the records. Then six or seven weeks later I would get the records in the mail.

There was also a magazine called Beat Instrumental. It was more geared toward the business side of things. I became their Australian and New Zealand correspondent. I used to write a column twice a year for them.

You worked for a record company when you were 17?

I worked for MDC, which was Manufacturers Distribution Company, which had a big pressing plant in Wellington and an office in Christchurch.

I had left home, and joined a rock and roll band as the keyboard player. I came back to Christchurch after I had been with this band. I realized that I wasn’t much of a musician, and that I would be better off in the business side of (music). I learned about agents and record companies while being with them. It was a great education because I came back thinking, “I want to work for a record company.”

How did you get hired?

I used to go to the record stores in Christchurch, and I got to know the girls and the guys at the stores really well. I’d read their Billboard magazines or their Cashbox magazines, and I would read their Melody Makers. I used to see these (sales) guys come in with these 12-inch square satchels. They would have the front cover of the new records that were coming in three weeks or whatever later, and they would be out taking the orders. I was always looking over their shoulders, wanting to see what was coming.

One day one of the girls in the record shop told me that (one of the salesman) had said that there was, perhaps, an opportunity in the warehouse at his company. So I talked to the salesman, and he said that there was a position available. I went straight over to the company on that Friday. I walked into this little warehouse type place on the edge of town.

You walked in the front door and there were offices on the left and the right, and there was this swinging door. I could see through the glass window that there were just thousands of albums in shelves. More than anything, there was a turntable and the guys were playing the new records, and playing them quite loudly. I was like, “This is heaven.” It was intoxicating.

So I asked about the job, but the girl said that the boss was gone for the weekend and that I should come back on Monday. Over the weekend, I got my hair cut—I had long hair down to my shoulders—and I got a suit. I went back on the Monday morning with a suit on, and my ears were trimmed. I walked in and the boss immediately said, “Your name is Coburn. Are you related to Merv Coburn?" I said, “That was my dad.” He said “great” and then he started asking me questions about music, and I answered them.

Then he told me that there were two positions available. He said, “I’d like to consider you for the company representative position.” I had to ask what that entailed. “You go out and visit all of the record stores, and you sell them records, and you call on the radio stations in towns. You will cover the whole south island. That would be your job.”

I was sitting there wide-eyed.

Then he asked, “You do have a driver’s license, don’t you? I said, “No, no no but I’m close to getting one.” I’d only driven a car once. My mother very nervously had let me drive her car. He asked, “How long would it take to get your license?” I said, “I’m sure I could get it very quickly.” He gave me the job, and he called his assistant, and said, “Louise, can you get Barry that driving instructor that you used recently. Get as many lessons quickly for Barry as possible. Barry is going to start with us. He’s going to work in the warehouse until he gets his license and then he will be out on the road.”

That’s how it all started. This company distributed Verve, Bluenote, Polygram, Capitol, and Elektra and Roulette through Viking Records, which was the major independent (in New Zealand). It was just like a smorgasbord (of labels).

Eventually I got hired away by Viking Records. They hired me on the basis that I would produce, and be the A&R guy for Elektra Records there. So I started producing records. I produced country things for Maria Dallas, who was quite popular. It was a great step for me. But Viking was also a music publisher. They distributed a lot of publishing and they sub-published a lot of catalogs. That got me into the publishing industry.

How did it feel marrying into Australian country and western musical royalty?

Well, it was great. It is an amazing legacy.

[The Blanch Family—the trio of Arthur, Berice, and daughter Jewel were Australia's first country music family. Jewel, in fact, began her career at four recording the novelty number “(I Want To Stay On) Jumbo” for W & G Records. Produced by Jack Varney, the song was written by Blanch and Jim Wesley. The Blanch Family recorded for Capitol Records in the ‘70s, and Arthur and Jewel recorded for CBS Records in the ‘80s. Living in the U.S. for 12 years, including in Los Angeles and Nashville, Jewel was signed to RCA Nashville as a solo artist. She was, in fact, heralded in 1979 as the best new female county artist by all three American music trades, Billboard, Cashbox, and Record World. Jewel returned to Australia in 1980, and won the top female vocalist at the Australian Country Music Awards in 1982.]

You and Jewel met at a festival in 1982?

We did indeed. We were friends for quite some time. When we decided to get married, she wanted to live outside of Australia. She had spent a lot of her time out of Australia living in L.A. when she was acting and she was signed to Capitol Records with her family. She was in such TV shows as “Bonanza,” “Mod Squad," and “Lassie,” and movies. So, she had had a long history of being in the U.S. She didn’t want to live in L.A. So we thought, “Where do we want to move to?”

By that time, the concert business (in Australia) was getting more difficult. The deals were getting tougher, and the percentage splits were much tougher. I was now in competition with Michael Chugg and Michael Gudinksi.

So you and Jewel came to Nashville in 1984.

Yeah, we got married in New Zealand and moved to Nashville two days after we got married. We arrived with two suitcases and a box of tapes.

Most of the reason why Jewel and I connected so well when we first met was that we loved the same sorts of music. We had these conversations about Emmylou Harris, Rodney Crowell, Lacy J. Dalton, Roseanne Cash, and Guy Clark. All of those (country) things that were going on at that time were really key in both of our minds. That was really where our connection was.

I had been in Nashville (previously) to see people. I would go to MIDEM, and then to New York and see the agents. I was doing a lot of shows with (promoter) George Wein. The first time I came to Nashville was in 1976. I just passed through for a day and a night. Then I came here in 1978. It was the first time I spent any time here. After that I came to Nashville, and got into it a little more.

Did you have many contacts in Nashville?

When Jewel and I met, I had been trying to get Emmylou Harris to Australia and New Zealand for a long time. I would go to L.A. and talk to (her manager) Ed Tickner. I could never get it done. Finally, I got Emmylou to come to Australia in ’83 for a promotional tour. Then we set a tour for 1984. She was the last tour that I did down there. Eddie Tickner and Phil Kaufman, the road manager, and the Hot Band all came down. So when Jewel and I decided to move to Nashville, we arrived and Phil Kaufman was at the airport to meet us. He picked us up, and said, “You’re staying with me until you can find somewhere.” We stayed with him for six weeks. That was pretty vivid, and wild as you can imagine.

Your original goal was to set up a publishing company, but you went into management instead.

BMI had offered to give us an advance to help us fund (the publishing). They ended up not doing it. The people that I knew here were saying, “We really need good managers. You would be a great manager.” Emmylou called me one day and said, “Lacy J. Dalton is in town, and she’s looking for a manager. I told her about you.”

So I got an interview. Then I got another interview. Lacy was here recording an album with Paul Worley and Marshall Morgan. She said, “I want you to be my manager.” Meanwhile, I had been talking a bit to Eddie Tickner. I called him and said that I’d just signed Lacy J. Dalton for management, and asked if he’d like to come in with me. He came to Nashville from L.A. the next week and said, “I will only do it on one basis, that we join together.” He also said that, “Emmylou and I have been together for a long time, and she feels she needs more energy (in her management), and I think that you would provide that.”

So you teamed up together.

We had our company (Meter Management), and managed those two acts plus Marty Stuart. We got Marty his record deal at Columbia. Then we had some other things that didn’t make it. Eventually, Emmylou left Eddie, and he eventually got Vern Gosdin going again. I took on Duane Eddy and managed him. I made an album with him (“Duane Eddy”) that had John Fogerty and George Harrison on it. I managed him through that album, and got him a deal with Capitol. On the week that the album was being released, he came to me and said that he wanted his wife to manage him instead of me.

[The self-titled album “Duane Eddy” was released by Capitol records in 1986. Tracks were produced by Paul McCartney, Jeff Lynne, Ry Cooder, and Art of Noise. Guest musicians included John Fogerty, George Harrison, Paul McCartney, Ry Cooder, James Burton, David Lindley, Steve Cropper, and Larry Knechtel and Jim Horn from Eddy’s original band, the Rebels.]

At 61, you remain very excited about music.

I’m still mad for it. Every night, and every day. (Music) is so broad in its reach. I love the really good things, the really interesting things. I love those things that are probably on the edge. I do love all of those things.

For me, the excitement (in business) is just being able to step out and to step out into so many other worlds, and have success at it.

That has taken time.

That’s what Keith Urban was. That’s what Alan Jackson was. That’s what Bobby Huff has been. You develop (people) over a period of time. You give them feedback, and they have to be willing to accept it and then get it right. If you get the music right, everything else will fall into place. But, you have to get the music right.

Larry LeBlanc is widely recognized as one of the leading music industry journalists in the world. Before joining CelebrityAccess in 2008 as senior editor, he was the Canadian bureau chief of Billboard from 1991-2007 and Canadian editor of Record World from 1970-89. He was also a co-founder of the late Canadian music trade, The Record. He has been quoted on music industry issues in hundreds of publications including Time, Forbes, and the London Times. He is co-author of the book “Music From Far And Wide: Celebrating 40 Years Of The Juno Awards.”

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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
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
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
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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