Podcasts about PolyGram

This week, hosts Jim DeRogatis and Greg Kot pay tribute to the late, great David Johansen of the New York Dolls and solo career fame, covering as much of his remarkable body of work as they could fit into one episode. They also revisit their interview with David Johansen from 2001.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:New York Dolls, "Trash," New York Dolls, Mercury, 1973The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967New York Dolls, "Personality Crisis," New York Dolls, Mercury, 1973New York Dolls, "Jet Boy," New York Dolls, Mercury, 1973New York Dolls, "Bad Girl (Blue Rock Studios Demo)," Lipstick Killers – The Mercer Street Sessions 1972, ROIR, 1982New York Dolls, "Pills," New York Dolls, Mercury, 1973New York Dolls, "Frankenstein," New York Dolls, Mercury, 1973New York Dolls, "Looking For a Kiss," New York Dolls, Mercury, 1973New York Dolls, "Bad Girl," New York Dolls, Mercury, 1973New York Dolls, "Bad Detective," Too Much Too Soon, Mercury, 1974New York Dolls, "Human Being," Too Much Too Soon, Mercury, 1974David Johansen, "Frenchette (Live)," Live It Up, Blue Sky, 1982Buster Poindexter, "Hot Hot Hot," Buster Poindexter, RCA, 1987David Johansen, "James Alley Blues," David Johansen and the Harry Smiths, Chesky, 2000Buster Poindexter, "Downtown Dream," Buster's Spanish Rocketship, PolyGram, 1997New York Dolls, "Babylon," Too Much Too Soon, Mercury, 1974David Johansen, "Heart of Gold," Here Comes the Night, Blue Sky, 1981New York Dolls, "Lonely Planet Boy," New York Dolls, Mercury, 1973Men at Work, "Who Can it Be Now?," Business as Usual, Columbia, 1981See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Speellijst Zondag 2 maart 2025 Kus me met je ogen (E. Schmimscheimer/C. van Doesburgh) Willeke Alberti 4'08 Van de cd Live in Carré Dino DNCD 1480 Je veux de l'amour R. Charlebois/R. v. h. Groenewoud) Raymond van het Groenewoud 4'14 Van de cd Maan bij nacht Polygram 534 982-2 Dialoog (Van Luyn, Boddé) Mike Boddé en Thomas van Luyn 2'25 Van de dvd Ajuinen en Look PIAS Geen slechte moeder (Jasper Slijderink/Lisa Ostermann) Lisa Ostermann 3'27 Spotify Heel even klein (Merlot) Tess Merlot 2'49 Eigen opname Dochter (Van Roozendaal) Maarten van Roozendaal 1'34 Van cd bij boek De gemene deler DODO 022 Water bij de wijn (J. Blok/A. Schmidt) Wim Sonneveld 5'30 Van de cd Theatershows 1 Mercury 838 467-2 De vleugelman (Bomans) Godfried Bomans 5'45 Eigen opname Self-fulfilling Prophecy (Verburg) Roel C. Verburg 2'30 Oom Bastiaan (G. Vleugel/J. Stokkermans) Jasperina de Jong 3'40 Van de cd Uit de shows van de jaren '70 EMI 7949412 Klaartjes moeder (Wilmink/Bannink) Cilly Dartell, Harry Bannink 2'18 Eigen opname Wij vonden elkaar (Dolman/Van Mechelen) Margreet Dolman en dokter Valentijn 3'34 Van de cd Wij vonden elkaar Munich CDJD07MD De eerste klant (Speenhoff) Gerard Cox 3'24 Van de cd Wat je zingt dat ben je zelf NN 500.203-2 Maarten Maarten (H. v. Veen, E. Leerkes) Herman van Veen, Jannemien Cnossen viool Van de cd Je zoenen zijn zoeter Polydor 543 009-2

Maggie speaks with Zev Feldman, an internationally recognized, independent record producer and the Co-President of Resonance Records. He is also a consulting producer of archival and historical recordings for Blue Note Records. Over the last 25 years he has worked for PolyGram, Universal Music Group, Rhino/Warner Music Group, Concord Music Group, among others. He won DownBeat Magazine's International Critics Poll for "Rising Star Producer" in 2016 for his work on a staggering 26 historical jazz recordings that year and was called "The Indiana Jones of Jazz" by Stereophile Magazine. In addition to his lauded work at Resonance, where he works closely with the estates of jazz icons such as Bill Evans, Wes Montgomery and so much more. Maggie and Zev discuss B.B. King In France: Live at the Nancy Jazz Pulsations Festival (1977) is a previously unissued live recording from the legendary bluesman B.B. King captured by the ORTF in France on October 7, 1977 and released on producer Zev Feldman's Deep Digs label in partnership with Elemental Music and INA France.The limited-edition 180g 2 x LP set was mastered and cut by Matthew Lutthans at The Mastering Lab, and include rare photos by Thierry Trombert, Val Wilmer, Jan Persson and more; plus liner notes by the acclaimed french author Jean Buzeline; and testimonials from fellow blues icons who knew or were inspired by B.B. King.Also joining Zev & Maggie is Cary Baker, a writer based in Southern California but, born on Chicago's South Side, he not only had the chance to grow up with the blues but began his writing career at age 16 for the Chicago Reader. Mr. Baker is the author of “Down On The Corner: Adventures in Busking and Street Music.” His return to writing follows a 42-year hiatus during which he directed publicity for six record labels and two of his own companies. Prior to his PR years,  Baker wrote for, among others, Creem, Trouser Press, Bomp!, Goldmine, Billboard, Mix, and Record magazine. He has also written liner notes for historical reissues from labels including Universal and Capitol-EMI. Cary Baker has also been a voting member of the Recording Academy since 1979.Source: https://www.elemental-music.com/inicio/4860-bb-king-in-france-live-at-the-1977-nancy-jazz-pulsations-festival-8435395504581.htmlSource: https://recordstoreday.com/PromotionalItem/18422Source: https://www.allaboutjazz.com/the-archival-producer-zev-feldmanHost Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica station KPFK Radio in Los Angeles since 1994.Send us a textSupport the show@profileswithmaggielepique@maggielepique

Born March 15, 1955, in Egham, Surrey, England, Steve Lillywhite, is a distinguished British record producer whose career began in 1972 as a tape operator for PolyGram.Over the decades, he has been credited on over 500 records, collaborating with a diverse range of artists including U2, The Rolling Stones, Peter Gabriel, Talking Heads, and Dave Matthews Band.Please use this link to watch the interview on youtube.https://www.youtube.com/watch?v=EV-Cb8M2dvwLillywhite's innovative production techniques have significantly influenced the sound of modern rock and pop music. Notably, he co-developed the gated reverb drum sound with Peter Gabriel and engineer Hugh Padgham during the recording of Gabriel's third solo album in 1980, a technique that became a hallmark of 1980s music.His work has earned him six Grammy Awards, including Producer of the Year in 2006, and in 2012, he was appointed Commander of the Order of the British Empire (CBE) for his contributions to music.As of recent years, Lillywhite has been residing in Indonesia.Join this channel to get access to perks:https://www.youtube.com/channel/UC5S9xw1B-ppDXVkAuvRRQtg/join#SteveLillywhite#MusicProducer#LegendaryProducer#IconicProducer#RecordProducerBand/Artist Related Hashtags#U2Producer#PeterGabrielProducer#TheRollingStonesProducer#MorrisseyProducer#SimpleMindsProducer#TalkingHeadsProducerGenre and Era-Specific Hashtags#NewWaveMusic#RockProducer#AlternativeRock#PostPunk#80sMusic#90sMusicAlbum and Production Style Hashtags#ClassicAlbums#BigSoundProducer#WallOfSound#InnovativeProducer#GrammyWinner#MusicProductionEngagement and Inspiration#BehindTheMusic#ProducerLife#StudioMagic#MusicMakers#InspiringSound Hosted on Acast. See acast.com/privacy for more information.

 Our guest is classic rock legendary drummer "Corky" Laing from Mountain! .....was born in Montreal Canada on January 26, 1948 as the youngest of five siblings.... formed a number of local bands with his best friend, George Gardos...... lived the high life of rock ... was awarded with gold records...worked e.g. as the Vice President of Polygram, Canada (here signing Bootsauce)... was inducted to the Long Island Rock and Roll Hall of Fame in 2004 (doesn't appear there as they later found out that he is Canadian).... was awarded with the Bonzo Bash Legend Award in 2014.... continues to perform, write and produce. (Here producing LVTR in Berlin, Germany with Gary Lyons.)To see Corky play live find out where here on the link belowhttps://www.corkylaingworks.com/tour

Blake Smith and his rock band Figdish from the 90's Chicago scene has never taken things too seriously; never been careerists, and in fact went out of their way to indulge in hijinx and sabotage, despite ending up with 2 hugely influential records and a solid major label record deal. This was the band that came of age with Varuca Salt, Local H and Smoking Popes with comparisons to Replacements and Husker Du that intentionally played a set of Neil Diamond covers at a label showcase in front of A&R from all the biggies. The same band that threw a sandwich off their hotel balcony and covered Marilyn Manson and his crew in hoagie. Blake Smith and band mate Mike Wilison went on to start the electronica based project Caviar with pretty solid success with lots of TV and film placement. But its the music that was written before they lost their record deal with Polygram that is the focus of a new Figdish release, the first in over 25 years, called Feels Like The Very First Two Times (Forge Again). These apocryphal songs complete the journey of this band and round out a top flight collection of powerful chicago indierock of the 90's scene that left a lasting impact on rock today, despite the hijinx and sabotage. 

In preparation for the remake coming out next week, the Bloobcast spend their Blooboween taking a look at what many consider to be the pinnacle of the Silent Hill franchise - Silent Hill 2! They discuss the game's strong themes, the improved voice acting and storytelling, why Pyramid Head is a bit redundant outside of this game, the characters, and why the dog is the true villain. 1:00:44 mark for Spoilers, Content Warning Silent Hill 2 owned by Konami Silent Hill 2 OST by Akira Yamaoka Silent Hill owned by Konami Bloobcast theme by Rob David Metal Gear Solid owned by Konami Metal Gear Solid 2: Sons Of Liberty owned by Konami Spider-Man directed by Sam Raimi, Sony Pictures and Columbia Studios Zero Punctuation by Ben “Yahtzee” Croshaw, Escapist Magazine Silent Hill 2 And Depression by Jordan Underneath The Gmod Idiot Box by DasBoSchitt Shadow Raiders by Mainframe Entertainment A Milhouse Divided, Season 8 Episode 6 The Simpsons by Matt Groening, Disney Con Air directed by Simon West, Touchstone Pictures Spongebob Squarepants owned by Nickelodeon The Tweenies by Tell-Tale Productions, BBC Alfred Hitchcock Presents by Revue Studios, Universal Robocop directed by Paul Verhoeven, Orion Pictures ReBoot theme by Robert Buckley, Mainframe Entertainment Twin Peaks by David Lynch and Mark Frost, Lynch/Frost Productions Blue Velvet directed by David Lynch, De Laurentiis Entertainment Group Can I Borrow A Feeling by Kirk Van Houten Mac Day, Season 9 Episode 5 It's Always Sunny In Philadelphia, Rob McElhenny, Glenn Howerton, FXP Wild At Heart directed by David Lynch, Polygram, Propaganda Films

Rockin' the Kremlin - Russian Music Industry w/ David Junk - AZ TRT S05 EP37 (253) 9-22-2024   Things We Learned This Week Roger Waters performed The Wall – Live in Berlin after the Fall David Junk went to the concert, & was inspired and moved to Russia, got into Diamond business, then Music Industry with Universal Music David had to establish a legal record market, and had to fight corruption with the Local Mob Record Companies and Artists wanted to grow their fan-base in both Eastern Europe & Russia post the Fall of the Soviet Union Western Music had a huge impact on Russian music, culturally & maturing the industry, which created local Rock Bands & Rap Artists     Guest: David Junk Music Business in Russia https://www.linkedin.com/in/david-junk   About David Junk is a seasoned music industry veteran with a career spanning thirty years. After the fall of the Soviet Union, David Junk embarked on an extraordinary adventure by becoming one of the first American record executives to work in the Ukrainian music industry. Early Days and Introduction to Ukraine: In 1999 as a record executive for Universal Music, the world's largest record company, David started an initiative to open the first branch of Universal in Ukraine. At the time, no other Western record label had ventured into Ukraine, allowing Russia to control the Ukrainian music market. David played a pivotal role in the early development of the Ukrainian music industry. This opened the door for more Western labels to engage in business in Ukraine. Championing the Ukrainian Music Industry: As Vice President of Universal Music, David had a significant responsibility in overseeing Eastern Europe, with a specific focus on Ukraine. He was instrumental in defending the rights of Ukrainian songwriters and combating music piracy controlled by criminal groups. Under his leadership, Universal Music soared to become Ukraine's most successful international label. This achievement was largely attributed to the Ukrainian youth's love for Hip Hop and rap music from Universal's premier labels, Interscope and Def Jam Records. The world-renowned Black Eyed Peas and rapper 50 Cent graced the Ukrainian music scene, thanks to David's efforts. In 2005, Universal Music extended its support to the Ukrainian Eurovision entry, Green Jolly, when Kyiv hosted the televised event for the very first time. Contributions to the Reggaeton Genre: In 2006, David took on the role of General Manager at Universal's Machete Records in Los Angeles, where he played a crucial part in transforming it into the #1 Reggaeton label in America. His work involved collaborating with renowned artists such as Don Omar and Wisin Y Yandel, further expanding his experiences in the music industry. Gibson Guitars: In 2013, David began a new career chapter, joining Nashville-based Gibson Guitars and managing a guitar showroom from the iconic Hit Factory recording studios in New York City. In this role, David presented honorary guitars to music legends Tom Petty, Elvis Costello, Nile Rodgers, Steve Miller, and the band Cheap Trick for their inductions into the Songwriters Hall of Fame and the Rock and Roll Hall of Fame. He also provided guitar support for Blondie, Rush, The Roots, and Andrew Lloyd Webber's "School of Rock" Broadway Cast in the Macy's Thanksgiving Day Parade.     Seg 1   David Junk bio, fell into the music business by accident. Most people get into the music business through connections or ex musicians. David worked for universal music, and got into the music business when he was already working in Russia. He was living and working in Moscow and hired by universal music, then called PolyGram for a finance position for the record company.   Record label was big, carried the catalogs of Bob Marley deaf jam artist Bon Jovi and was the first musical label in Russia. David went on to become the first CEO of universal music in Russia.   David is from Ohio, and grew up during the Cold War with fear of Russia. His influenced by Roger Waters of Pink Floyd and his claim that he would not perform the album the wall unless the actual Berlin wall in Germany came down. In 1989 The Berlin wall did come down. Waters staged a concert performing the wall with celebrity ax joining in, called the Potsdam concert.   David went to Europe and attended that concert. He was influenced by the moment and returned to America to study business and the Russian language. He got an NBA in California.   In 1993 he got a job in Moscow working for a diamond mining company, mining raw diamonds. Russia has large supply of diamonds and Siberia. Unfortunately, the company David was working for turned out to be a huge scam with the Russian bosses stealing $200 million and diamonds. David was arrested and thrown in a Russian jail.   Thankfully, the actual criminals were caught and David was let go. The next job we got in Russia was for the music industry.     Seg 2   How the music business and record labels work. Record labels make money by marketing. Their big artist as well as music writes with song catalogues. Company David worked for carried many of the big rap artists like Jay Z and Eminem, as well as big bands, like U2 and the cranberries and also catalogs of Johnny Cash.   Labels are located in both the US and other countries. I band releases a new album and the record label locate in each country would promote and sell. Record labels want to sign artist to promote internationally to make more sales and exposure to the music.   The 1990s both Russia and Eastern Europe were considered one zone and many businesses were trying to expand.throughout. David visited many countries in Eastern Europe as well as former Russian Republic, like Ukraine.   At the time there was no infrastructure to sell records. There were no legal record stores and the Russian mafia controlled 90% of the music industry. There was mass piracy with music and CD. David's job working for universal music was to create a legal music industry.   Three step process to get the mafia out of the business Legislation - using the Russian Dumba work to create legislation to generate tax revenue off record sales. Country like Sweden was a model with massive revenue from the band ABBA. This failed and corruption issues continued. Police Action - Moscow police raids of piracy locations and confiscate CDs of universal music and other record labels. This partially worked, had some corruption issues. But ultimately it failed to as the pirate factories just moved from the city to military bases. Now they are under protection of the Russian military. U.S. Ambassador - went to the Bush administration to try to block Russia from the WTO world, trade organization. Russia wanted to expand its economy, enjoying the WTO. They leveraged this to push for legal action on music and other industries in Russia. Force the Russian government to protect artist and lessen the corruption.       Seg 3   In the late 1980s and 1990s artist were eager to get their music distributed in Russia. They obviously wanted to work with a record company. Do it legal have promotion that was supportive and understanding of their rights. They also understood that the royalties would be less.   There was big business though in touring. David's bosses in both Angeles and London cannot understand how powerful mafia was and how deep the corruption was.   When bands were touring in Russia mafia would interfere by selling false concert tickets. At the time in the late 1980s and early early 1990s lots of bands were touring in both Russia and Eastern Europe.   There were issues. An example of this was David Copperfield Magician tour. At one point, he did not pay the bribes and could not get his equipment out of Russia. He had to actually cancel parts of his European tour.   Band sell more records by touring in Russia. 1990s peace festival or Bon Jovi Metallica AC/DC all tour in Russia. Mariah Carey also toured in Russia. Kiss refused in the mid 1990s to Eastern Europe because of the war Yugoslavia.   MTV opened in Russia 1999 and this continue to expand music exposure of the west in Russia. Red Hot chili pop performed in the red square.   Western music had a huge cultural impact in Russia. David and universal signed the Russian band tattoo. This became the biggest selling Russian band in history.   Improved in Russia now that they've been introduced to competition from the west. Better music, better, music, videos, and better songwriting. Music is always had a connection to freedom with artist having the freedom of expression.   Hip-hop and rap was introduced to Russia and wound up becoming the most popular music in Russia today. Very much an anti-authority and freedom type music. Russia, creative popular hip-hop band called del. Many acts like Eminem, Snoop Dogg, 2Pac, 50 Cent, Jay Z, Dr. Dre, anime all became big hits in Russia.   David left Russia in 2005 and moved on to work for Gibson guitars which ultimately led to his return in 2013. Often on he lived and worked in Russia for 15 years.         If you enjoyed this show, you may like:  BRT Marketing: HERE BRT Business: HERE    Investing Topic: https://brt-show.libsyn.com/category/Investing-Stocks-Bonds-Retirement     ‘Best Of' Topic: https://brt-show.libsyn.com/category/Best+of+BRT     Thanks for Listening. Please Subscribe to the BRT Podcast.     AZ Tech Roundtable 2.0 with Matt Battaglia The show where Entrepreneurs, Top Executives, Founders, and Investors come to share insights about the future of business.  AZ TRT 2.0 looks at the new trends in business, & how classic industries are evolving.  Common Topics Discussed: Startups, Founders, Funds & Venture Capital, Business, Entrepreneurship, Biotech, Blockchain / Crypto, Executive Comp, Investing, Stocks, Real Estate + Alternative Investments, and more…    AZ TRT Podcast Home Page: http://aztrtshow.com/ ‘Best Of' AZ TRT Podcast: Click Here Podcast on Google: Click Here Podcast on Spotify: Click Here                    More Info: https://www.economicknight.com/azpodcast/ KFNX Info: https://1100kfnx.com/weekend-featured-shows/   Disclaimer: The views and opinions expressed in this program are those of the Hosts, Guests and Speakers, and do not necessarily reflect the views or positions of any entities they represent (or affiliates, members, managers, employees or partners), or any Station, Podcast Platform, Website or Social Media that this show may air on. All information provided is for educational and entertainment purposes. Nothing said on this program should be considered advice or recommendations in: business, legal, real estate, crypto, tax accounting, investment, etc. Always seek the advice of a professional in all business ventures, including but not limited to: investments, tax, loans, legal, accounting, real estate, crypto, contracts, sales, marketing, other business arrangements, etc.  

The fall of the Soviet wall and the opening of the iron curtain presented ample space for hope, optimism and opportunity for westerners eager to share culture, creativity, business and democracy concepts with the citizens of the former Soviet Union. David Junk leapt at the chance to work for Polygram/Universal Records in a country hungry for music and freedom. David's 15 years in Russia were a unique window of time between Gorbachov's Glasnost and Putin's re-consolidation of power. David stepped into a landscape that he called “the wild, wild, east,” teaming with gangsters and corruption and also talented, enterprising Russians, eager to explore new possibilities. David's journey is documented in his book, Rockin' The Kremlin which gives readers an inside look at boots-on-the-ground life and work in Russia from the perspective of a Russian speaking, idealistic American. David and his co-writer Fred Bronson join us for a fascinating dive into David's adventures… Contract negations with Polygram which included kidnapping insurance, Russian kids' obsession with hip hop, discovering and exporting Russian talent including two young girls called t.A.T.u. who kissed on The Tonight Show, wearing “F*** War” tee-shirts which they got past everyone because the words were written in Russian. David says that those tee-shirts are now being worn by kids in Ukraine. This window in time introduced a generation to a complex intersection of culture and politics which was ultimately snuffed by Putin's coalition with the Russian Orthodox Church and a renewed, vehement opposition to LGBTQ rights and individual expression. Ultimately, it was David's deep disappointment in colleagues' support for the invasion of Ukraine and concerns for his family's safety which brought him back to the states. But still, so much was learned and exchanged.All this, plus Fritz and Weezy are recommending The English Teacher on FX (streaming on Hulu) and the making of The Sopranos doc, Wiseguy on HBO Max.Path Points of Interest:Rocking The Kremlin: My Incredible, True Story Of Gangsters, Oligarchs, And Pop Stars In Putin's Russia by David Junk with Fred BronsonDavid Junk on FacebookDavid Junk on InstagramFred Bronson on TwitterArt During Wartime PodcastGift of Democracy The English Teacher FX and Huluhttps://www.fxnetworks.com/shows/english-teacherWiseguy - HBOhttps://www.hbo.com/movies/wise-guy-david-chase-and-the-sopranos

Fue uno de los personajes más importantes de la música, un hombre poderoso, de contactos igual de grandes, y con una relación muy polémica, y llena de desastre, hablamos de #TommyMottola quien está entre los contactos del asqueroso #JeffeyEpstein y hoy te cuento porqué.

Emerging from the same mid-90s Chicago scene that saw bands like Veruca Salt, Loud Lucy, Menthol, Triple Fast Action, and Local H get signed to major labels, Fig Dish delivered alternative guitar rock that paid homage to the legends of Mt. Rockmore - Zander, Mascis, Mould, and Westerberg - under the Polygram Records (and subsidiaries) banner. Their discovery is the stuff of legend: the band sent demo cassettes to various major labels with a handwritten note from “Steve,” claiming to have found a band worth checking out, banking on the idea that everyone knows a Steve and the label would think it was a genuine tip. Despite their immediately catchy songs that could easily fit into any alternative rock radio playlist, the band (Blake Smith - vocals/guitar, Rick Ness - vocals/guitar, Mike Willison - bass, Andy Hamilton - drums) struggled to grasp the elusive brass ring. Their single “Seeds” was released with a video but saw limited play on MTV's 120 Minutes. Touring across the country, they opened for acts like Juliana Hatfield, Veruca Salt, Ned's Atomic Dustbin, Owsley, and Walt Mink. However, their 1995 album, That's What Love Songs Often Do, produced by Lou Giordano, failed to make a significant impact. Their 1997 follow-up, When Shove Goes Back to Push, recorded under challenging circumstances, also ended up in used CD bins despite featuring some of the catchiest rock tunes of the year. In a last-ditch effort, the band filmed a video for “When Shirts Get Tight” featuring adult film stars in humorous, over-the-top scenarios. The video, too risqué for MTV, became more myth than reality. By 1998, Fig Dish's tenure with Polygram ended unceremoniously. They recorded new songs at Andy Gerber's Million Yen studio in Chicago, hoping for a second chance that never materialized. Smith and Willison went on to form Caviar (known for “Tangerine Speedo”), while Ness and Bill Swartz (who played drums on Shove) formed Ness. Recently, Forge Again Records from Chicago reached out to the band to release their two albums on vinyl for the first time. While the band agreed, navigating the bureaucratic red tape with record labels has been time-consuming. In the meantime, Forge Again asked if Fig Dish had any unreleased material, leading to the release of their 1998 demos as Feels Like the Very Second Time on vinyl. In this interview, Smith and Ness reveal there was no dramatic story behind the band's breakup; the members remain friends and stay in touch. While they won't be quitting their day jobs to relive their (less than) glory days, there's a strong possibility that Fig Dish will release new material in the near future.   Songs In This Episode Intro - Burn Bright For Now 13:54 - Pretty Never Hurts Outro - When Shirts Get Tight   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Emerging from the same mid-90s Chicago scene that saw bands like Veruca Salt, Loud Lucy, Menthol, Triple Fast Action, and Local H get signed to major labels, Fig Dish delivered alternative guitar rock that paid homage to the legends of Mt. Rockmore - Zander, Mascis, Mould, and Westerberg - under the Polygram Records (and subsidiaries) banner. Their discovery is the stuff of legend: the band sent demo cassettes to various major labels with a handwritten note from “Steve,” claiming to have found a band worth checking out, banking on the idea that everyone knows a Steve and the label would think it was a genuine tip. Despite their immediately catchy songs that could easily fit into any alternative rock radio playlist, the band (Blake Smith - vocals/guitar, Rick Ness - vocals/guitar, Mike Willison - bass, Andy Hamilton - drums) struggled to grasp the elusive brass ring. Their single “Seeds” was released with a video but saw limited play on MTV's 120 Minutes. Touring across the country, they opened for acts like Juliana Hatfield, Veruca Salt, Ned's Atomic Dustbin, Owsley, and Walt Mink. However, their 1995 album, That's What Love Songs Often Do, produced by Lou Giordano, failed to make a significant impact. Their 1997 follow-up, When Shove Goes Back to Push, recorded under challenging circumstances, also ended up in used CD bins despite featuring some of the catchiest rock tunes of the year. In a last-ditch effort, the band filmed a video for “When Shirts Get Tight” featuring adult film stars in humorous, over-the-top scenarios. The video, too risqué for MTV, became more myth than reality. By 1998, Fig Dish's tenure with Polygram ended unceremoniously. They recorded new songs at Andy Gerber's Million Yen studio in Chicago, hoping for a second chance that never materialized. Smith and Willison went on to form Caviar (known for “Tangerine Speedo”), while Ness and Bill Swartz (who played drums on Shove) formed Ness. Recently, Forge Again Records from Chicago reached out to the band to release their two albums on vinyl for the first time. While the band agreed, navigating the bureaucratic red tape with record labels has been time-consuming. In the meantime, Forge Again asked if Fig Dish had any unreleased material, leading to the release of their 1998 demos as Feels Like the Very Second Time on vinyl. In this interview, Smith and Ness reveal there was no dramatic story behind the band's breakup; the members remain friends and stay in touch. While they won't be quitting their day jobs to relive their (less than) glory days, there's a strong possibility that Fig Dish will release new material in the near future.   Songs In This Episode Intro - Burn Bright For Now 13:54 - Pretty Never Hurts Outro - When Shirts Get Tight   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Évekig készült, de 2023-ra csak megjelent a Legát Tibor vezette Lidérc Dénes József "Dönci" előtt tisztelgő albuma Budapesti halottaskönyv címmel. Ez adta az apropót, hogy a Wanted podcast két zenész-újságírója meghívjon egy harmadikat is Legát személyében, akivel sokat beszélünk a nyolcvanas évek avantgárdjáról, a Kézi-Chopin különböző inkarnációiról, rendőrségi vegzálásról, trollkodásról, menedzselésről, az Almássy térről, a Fekete Lyuk kiadóról, hogyan ejtette a zenekart a Polygram, miért nem lett Jamie Winchester a Kézi-Chopin producere, hogyan lett a Legát a BKV és a Magyar Narancs újságírója, hogyan is alakult zenekar egy Dönci-interjúból egy kocsmában, mi köze van Legátnak a Dönci-könyvhöz, vagy éppen miképp lett végre lemez az erlső Lidérc-anyagból Dönci halála után. Műsorvezető: Bihari Balázs és Németh Róbert. A Wanted podcast adása az NKA Hangfoglaló program támogatásával készült.

Meet Adam Holland, a guitarist whose name is synonymous with talent and versatility. With a resume boasting collaborations with powerhouse acts like Valentine and the Steve Augeri Band, he has proven himself as a force to be reckoned with in the music industry. Now, he's set to mesmerize audiences once again with his latest album, "Rapture." Packed with electrifying riffs and soul-stirring melodies, "Rapture" showcases Holland's musical prowess and innovative spirit. From start to finish, this album is a testament to Holland's dedication to his craft and his ability to captivate listeners with his unparalleled talent. Dive into "Rapture" and experience the magic of Adam Holland, Someone You Should KnowTABLE OF CONTENTS00:00:00 Interview with Adam Holland about Music and Business Ventures00:00:48 Exploring Adam Holland's Inspiration to Pick Up the Guitar at a Young Age00:01:56 Influence of Music on Life and Funny Hotel Story00:02:49 Adam Holland's Memories of Playing in the Long Island Club Circuit During High School00:04:43 Interning at Polygram and Columbia Records: A Career-Defining Experience00:06:48 The Rise and Fall of Valentine: A Journey Through the Music Industry00:11:05Transition from Valentine to Open Skies: A Musical Journey00:14:44 Interview with Adam Holland about Their Music Journey00:17:02 Discussion with Adam Holland about his music collaborations and inspirations00:21:37 Adam Holland's early years working at JLM Public Relations promoting Duran Duran and Iggy Pop00:23:24 Lessons Learned from Past Connections in the Music Industry00:25:35 Exploring the Creation of Moody and Groovy Music with Adam Holland00:26:26 Interview with Adam Holland on Someone You Should Know Podcast00:30:03 Interview with Adam Holland about Touring with Steve Augeri Band00:34:32 Interview with Adam Holland on Rik Anthony's Podcast00:38:46 Interview with Adam Holland about their Music CareerTip Jar:Click here to buy the Rik Anthony a cold one.Show Links:Click here to go to Adam's WebsiteClick here to go to Adam's InstagramClick here to go to Adam's YouTubeClick here to go to Adam's FacebookClick here to check out the Steve Augeri BandVideo Links mentioned:Click here to see No Way by ValentineClick here to see Valentine at FireFest 2007Sponsor Link:Click here to check out SummarAI zeAll music used by permission from the artistSomeone You Should Know 2024 // CatGotYourTongueStudios 2024How to Contact Us:Official Website: https://Someoneyoushouldknowpodcast.comGmail: Someoneyoushouldknowpodcast@gmail.comTwitter: @RIKANTHONY1Facebook: https://www.facebook.com/rikanthonyInstagram: https://www.instagram.com/someoneyoushouldknowpodcast/LinkedIn: https://www.linkedin.com/in/rik-anthony2019/TikTok: @SomeoneYouShouldKnow2023YouTube: https://www.youtube.com/@someoneyoushouldknowpodcastThank you for listening!Theme music "Welcome to the Show" by Kevin MacLeod was used per the standard license agreement.

Originally known as Ben Iverson and the Nue Dey Express...the group was renamed for a neighborhood in Brooklyn. Under contract to RCA they recorded their self-titled first album in 1974. A shift to De-Lite Records in ‘75 (marketed under Polygram) saw the group gain worldwide audiences. In the L70s and E80s the members became successful record producers for some De-Lite, Prelude, and Beckett Records acts. Some members started collaborating and branching out in other bands. Although their body of work is not that big, but it is important for the foundation of funk. 1. Strikers - Hold onto your feelings '81 2. Made in U.S.A. - Shake your body '77 3. Amii Stewart - Caling for your love '81 4. Denroy Morgan - Sweet tender love '81 5. Terri Gonzalez - Treat yourself to my love '81 6. Farnce Joli - Gonna get over you '82 7. Rocket - Groove thing '82 8. Enchantment - I know your hot spot '82 9. France Joli - Your good lovin '82 10. Crown Heights Affair - Dance lady dance '79 11. Zafra Bros - Will you see me tonight '81 12. Trilark - Check it out '82 13. Unlimited Touch - Searching to find the one '81 14. Rocket - I wanna know '82 15. Intensive Heat - Be my lady '82 16. Fresh Band - Come Back Lover '84 17. Crown Heights Affair - Music is the way '76 18. Crown Heights Affair - I got something for ya ‘82 19. Empress - Control it '81 20. Crown Heights Affair - Use your body & soul '80 21. Crown Heights Affair - Say a prayer for two '78 22. Crown Heights Affair - I am me '75 23. Crown Heights Affair - Don't need a lot of money ‘83 24. Crown Heights Affair - Sure shot '80 25. Crown Heights Affair - You can't bend my super rod ‘74 26. Crown Heights Affair - Super rod '74 27. Crown Heights Affair - Streaking '74 28. Tony Aiken ad Future 2000 - Time tunnel '76 29. Taana Gardner - Work that body '79

The extraterrestrial comedy podcast where we probe several simian sightings from 1878, 1879, the late 1800's and as recently as the 1980's in England within the United Kingdom. Is there a ghostly gorilla roaming the lands of the Shropshire Union Canal? Does this creature stalk those who pass Bridge 39? Is this creature cold? Or is the creature responsible for these several shocks actually the lingering spirit of a deceased workman from the area, as the police of the day seemed to believe? Or perhaps a gorilla on horseback roams the British countryside to this day? Was this thing a Pokemon? Alongside that it is pondered as to what gorilla's like to do with bananas… HERE HE COMES BANANA SLAMMA KONGO BONGO's HERO. All that and more on this week's file.     Patreon: https://www.patreon.com/butitwasaliens   Store: https://butitwasaliens.co.uk/shop/     Probe us: Email: butitwasaliens@gmail.com Instagram/Threads @ ButItWasAliens Twitter @ ButItWasAliens Facebook: @ ButItWasAliens - join Extraterrestrial Towers     Music:  Music created via Garageband. Additional music via: https://freepd.com - thank you most kindly good people. When Kev sang the Donkey Kong Country theme, the theme of the actual Nelvena and Medialab-produced cartoon composed via Pure West was underlaid because IT HAD TO BE DONE. There was a tiny tiny snippet of the Indiana Jones theme song aka The Raiders March as Kev hummed the tune, which was composed and conducted via John Williams courtesy of Polygram, Sony Music and Colombia Records. We closed out the episode with the 'Staff Roll' aka credits theme from Nintendo's 1990-1992 Super Mario World from the Super Nintendo Entertainment System, composed by Hero of Sound Kōji Kondō.      Sources: Spooky Isles: https://www.spookyisles.com/man-monkey-shropshire-union-canal/   Canal & River Hub: https://canalriverhub.co.uk/the-shropshire-man-monkey-bigfoot-of-the-uk-canals/   Cryptid Archives: https://cryptidarchives.fandom.com/wiki/Man-monkey?fbclid=IwAR03wGDwI197Dm1MTHUywofoqHOTNGRkVWlTg1KAPymAFp2kOFg49Rd7Ass_aem_AfMkMBwLWL-MDHTmBfnrVf1V9-1-DeaZzo89gHHzS6zZntfvGsiBjFQ9feIhTSQ4oj8    Karl Shuker article: https://karlshuker.blogspot.com/2010/09/devil-of-mystery-from-smethwick.html?m=1

David Junk focused for many years on the music scene in Eastern Europe and in particular on Ukraine. He was a Vice President for PolyGram N.V., a multinational entertainment company and major music record label formerly based in the Netherlands and subsequently for the Universal Music Publishing Group which acquired PolyGram. After leaving the company and seeing the ravages of the Russian invasion of Ukraine in 2022, he decided to launch the "Art During Wartime" podcast to promote modern Ukrainian culture around the world. In this interview Mr. Junk talks about the podcast and his plans for the future. https://podcasts.apple.com/us/podcast/art-during-wartime/id1716447606 https://odessa-journal.com/public/an-american-producer-has-launched-a-podcast-about-ukrainian-culture-during-the-war

Today on Sense of Soul we have the talented Mark Pinkus. He has been composing at the piano and performing for 57 years, his music is a reflection of his love for nature, love and relationships, moods, travel and his quest for peace and tranquillity. Mark practices and teaches Qi Gong daily and has been a student of prior guest on Sense of Soul Lee Holden internationally celebrated Qi Gong master. Mark's music plays around the world on new age radio stations, online internet programs, and satellite programs. Mark's CDs were distributed by the label Avalon/Solitudes in 45 countries and by Polygram and Universal Music, Canada.  His album Feeling Right At Home won the award for Best Original Solo Piano Album at the EPR music awards held in September 2017 at the Grand Ole Opry in Nashville. Mark also writes books and composes music for documentaries. Last year he released his 17th solo piano album Walls I Left Behind which is now available on the international market and is working on the next album to be released this year. You can hear his music at www.soundcloud.com/markpinkus Visit his website at www.markpinkus.com  

Today on the Rarified Heir Podcast we are talking to Ed Eckstine, son of singer Billy Eckstine and actress/model Carolle Drake. Our conversation with Ed was fun, fascinating, edifying and above all, full of stories of his life as the child of a celebrity but also his own career in the music industry. Our only regret was not keeping Ed for another 90 minutes because he has stories for days. We barely scratched the surface. Part two is a must. Many of us only know Billy Eckstine as a jazz & pop singer whose baritone voice and smooth delivery made him one of the most in-demand singers from the 1930s well into the 1950s. But he also was a guitar player, trumpet player and this Billy Eckstine & his Orchestra was the first Bebop Big Band and his players and vocalists were a who's who of Jazz -  Charlie Parker, Dizzy Gillespie, Dexter Gordon, Miles Davis, Art Blakey,  Sarah Vaughan, Pearl Bailey, and Lena Horne all were part of the band in the 1950s. By 1950, his popularity rivaled Sinatra - which as you will hear wasn't a rivalry at all between these two friends. It was Eckstine's talent as well as his good looks and dapper attire that made him perhaps the first black entertainer to become a crossover star in the segregated 1950s America. But as we learn from our conversation with Ed, one photo in a major American magazine essentially put an end to all that in the must ugly and vile way possible. But to hear Ed tell it, this terrible incident was a blessing in disguise as it opened up doors for him outside America and made him an international star, touring well into the 1980s in Europe, Australia and Japan. Our conversation with Ed also focused on his own career in the music industry that took him from journalist to publicist to head of Quincy Jones Qwest Productions to stints at Polygram,  Arista and as the President of Mercury Records. As Nabil Ayers in the New York Times said, “Eckstine's story is unique because he was the first black person to be let in — to be allowed by the predominantly white music industry to helm one of its largest entities.” This is the Rarified Heir Podcast and everyone has a story. Ed Eckstine's is like none other.

Derek Shulman, of Gentle Giant, Polygram records, Atco Records, and Roadrunner Records joins Steven and Dan to talk music and the music business. He was instrumental in signing so many amazing bands, that you all have banged your heads to, tapped your toes, too, swiveled your hips, too, and stumbled down the hall too Bon Jovi, Dream Theater, and so so many more! Get the Steven Wilson remix of The Missing Piece here: https://linktr.ee/gentlegiantband Plus, Derek shares breaking news regarding a re-release of the live album Playing the Fool! --- Support this podcast: https://podcasters.spotify.com/pod/show/yesshift/support

Phillip Rosen J. D. launched his career as an attorney for PolyGram's music division, where he negotiated and drafted music publishing agreements and handled copyright matters. He subsequently spent five years at RCA, as Business Affairs Manager and Director of Program and Talent Negotiations, working in the arenas of pay, cable and syndicated television. Entering the Los Angeles market as Vice President of Business Affairs and Legal Affairs for New Line Cinema in 1989, Phillip ascended to Senior Vice President of Business and Legal Affairs. During his seven-year tenure he was responsible for business affairs and legal duties for over fifty motion pictures including the Nightmare on Elm Street and House Party series, as well as the Jim Carrey comedy The Mask and the Brad Pitt thriller Seven. From 1997 to 1999, Phillip was a partner in charge of the motion picture and television department in the Beverly Hills office of Baker and Hostetler, LLP. ROSEN LAW GROUP is an entertainment law firm concentrating in film, music, television, digital media and intellectual property. In addition to representing above-the-line talent, creators and businesses, we serve as production legal for countless film and television properties, supporting all stages of a project's life cycle. ROSEN LAW GROUP is a new kind of law firm for today's dynamic entertainment landscape. We are transparent, consistent, patient and professional, giving each client the attention they deserve so they can make informed business decisions.  www.rosenlawgrp.com Connect with your host Kaia Alexander: https://entertainmentbusinessleague.com/ https://twitter.com/thisiskaia  Produced by Stuart W. Volkow P.G.A. Get career training and a free ebook “How to Pitch Anything in 1Min.” at www.EntertainmentBusinessLeague.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Ga Ga Ti Ga, Ga Ga Ga Ti Ga... John talked about the Samba sing-a-long, studying in India, and Brazil, recording vibes and various percussion instruments, the importance of cultural context in music, and bringing your A-game to every studio session! Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is John Arrucci, an acclaimed master artist in Classical, Jazz, North Indian, Afro-Cuban, Afro-Brazilian and other indigenous traditions and someone I first met when he moved to Nashville to build his studio. Having composed, performed, and instructed for over 40 years, John has studied on three continents and received numerous honors.  His work as drummer and percussionist is featured on scores for feature films, television, commercial spots and recordings including on Sony, Polygram, Mercury, Chesky, Koch Jazz, Chiaroscuro, Rykodisc and other labels. He has performed and/or recorded with Michael Brecker, John Patittucci, Mariah Carey, David Byrne, Philip Glass Ensemble, and for Dalai Lama, Bishop Desmond Tutu and many other dignitaries and has performed at notable venues such as Carnegie Hall, David Geffen Hall, Jazz at Lincoln Center, Town Hall, Merkin Hall and United Nations. His percussion can be found on programs including Patriot, Late Show with Stephen Colbert, Oprah Winfrey and Rosie O'Donnell.  As a composer, John has received numerous commissions, grants and awards from members of The New York Philharmonic, The Manhattan Marimba Quartet, The Mannes College of Music and many others. His acclaimed 2011 release “Metaphors” features 9 of his compositions and performances on Drum Set, Vibes, Marimba and Percussion. John taught for over 20 years at Princeton University, the City University of New York, and many other prominent institutions including an Eastman School of Music where he graduated with distinction. The Smithsonian Institution awarded him a Post-Doctoral level research fellowship to study Tabla in Benares, India with Pandit Sharda Sahai. He has also studied music in Brazil, and Shekere and Agbe with the renowned Chief James Hawthorne Bey, and Conga and Afro-Cuban drumming with Frank Malabe and Tabla with Robert Becker. He has basically done a tremendous amount of music and finally landed in Nashville, Tennessee making himself available for in-studio and remote recording, live performances, touring, commissions and Master Classes, one of which I recently took to learn Samba drumming which was amazing! THANKS TO OUR SPONSORS! http://UltimateMixingMasterclass.com https://gracedesign.com/ https://www.native-instruments.com use code ROCK10 to get 10% off! https://lewitt.link/rockstars https://iZotope.com use code ROCK10 to get 10% off! https://www.adam-audio.com https://RecordingStudioRockstars.com/Academy  https://www.thetoyboxstudio.com/ Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/79yhhF3Yr5dp4a9iMhkqBn?si=6869fa6d30e44433 If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/442

Ed Eckstine is a name that has come up during multiple QLS interviews. Now he sits down to talk about not only growing up in a legendary household where icons regularly stopped by, but he shares 50 years of music industry history. Ed recalls working at Quincy Jones Productions before his time with Clive Davis at Arista working with Whitney Houston and Kenny G. Eckstine also talks about his years leading Polygram and Mercury, where he signed acts like Tony! Toni! Toné!, Vanessa Williams, and Brian McKnight. This is a joyful deep dive filled with anecdotes, intersections, laughter, and two hours of insider wisdom.See omnystudio.com/listener for privacy information.

Exclusive interview with Grammy® Nominated Guitarist for The String Revolution, Janet Robin."Top Acoustic Guitarist" - Guitar Player Magazine, 2017"Top 10 Female Guitarist" - Guitar World Magazine, 2012“Working with Janet was an unforgettable experience. She followed her spirit – no limits. Janet's love for her art is evident in her impassioned musicianship and inspired songwriting. The music we created together, vibrant and full of energy, encapsulates all that she is.”— JOHN CARTER CASH (PRODUCER, OWNER CASH CABIN STUDIOS)Janet Robin, a Southern California native, began her musical journey under the tutelage of guitar teacher Randy Rhoads. In high school, she became the lead guitarist for the all-female rock band Precious Metal, signed to Polygram and later Chameleon/Capitol Records. After the band's dissolution, Fleetwood Mac's Lindsey Buckingham handpicked her for his 1992 solo album, profoundly influencing her music career.In 1998, she debuted with "Open the Door" on Little Sister Records, earning praise for its pop sound. Janet's musical exploration continued with the 2007 acoustic EP "Days of Summer," recorded in Europe. In 2012, she bridged acoustic and rock with "Everything Has Changed," funded by her dedicated fan base. Collaborating with producer John Carter Cash at Cash Cabin Studios, she released the album in Europe through Hypertension Music.Janet's solo career expanded globally with successful tours in Europe, including headlining shows and festivals. She collaborated with diverse artists, including Lindsey Buckingham, Tommy Emmanuel, and Michelle Shocked. Her original songs found placements in TV shows and films, showcasing her versatility.Beyond her solo endeavors, Janet is a guitarist in the band "The String Revolution," nominated for a Grammy® for their unique arrangement of "Folsom Prison Blues" featuring Tommy Emmanuel. The band's EP "Red Drops" gained popularity on Spotify, and they received acclaim for their live performances.In 2022, "The String Revolution" released a cover of "Crazy Train" with Steve Stevens, honoring Janet's late teacher Randy Rhoads' Rock n' Roll Hall of Fame induction. Janet's diverse career includes coaching actress Jennifer Jason Leigh for a guitar scene in Quentin Tarantino's "The Hateful Eight" and playing in musicals like "Girlfriend," "Soul Doctor," and "Staring into Nothing."Janet Robin's impact as a musician extends beyond labels, proving her talent, perseverance, and passion for music. Her journey reflects a dedicated artist, blending genres and leaving an indelible mark on the music industry.https://www.janetrobin.com/Support the showThanks for listening for more information or to listen to other podcasts or watch YouTube videos click on this link >https://thetroutshow.com/

This week we look back to a time when the music industry was, mostly, run through a handful of record labels. With big money to be made, record companies such as Capitol, Epic, Columbia, and Atlantic wielded a lot of power. Buyouts were happening such as in the case of Polygram acquiring Casablanca Records which would result in a very in-flux KISS winding up on Mercury Records. Smaller labels, while limited financially, were successful at times due to scouting new talent and breaking it. This circumstance would lead labels such as Elektra, Metal Blade, and Megaforce to be on the ground floor of some legendary careers and genres. In this discussion, we discuss all of these record labels, many of the notable artists that inhabited their rosters, how they stacked up in the rock world, and much more. The era we're focusing on this time is 1980-1984.  Was the rule and oversight of the early 80's music industry a good thing? Is today's wide open musical climate a better thing for artists? Let us know what YOU think in the comments! We hope you enjoy Label Wars (1980-1984) and SHARE with a friend. Decibel Geek is a proud member of the Pantheon Podcasts family. Contact Us! Rate, Review, and Subscribe in iTunes Join the Facebook Fan Page Follow on Twitter Follow on Instagram E-mail Us Subscribe to our Youtube channel! Support Us! Buy a T-Shirt! Donate to the show! Stream Us! Stitcher Radio Spreaker TuneIn Become a VIP Subscriber! Click HERE for more info! Comment Below Direct Download  Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we look back to a time when the music industry was, mostly, run through a handful of record labels. With big money to be made, record companies such as Capitol, Epic, Columbia, and Atlantic wielded a lot of power. Buyouts were happening such as in the case of Polygram acquiring Casablanca Records which would result in a very in-flux KISS winding up on Mercury Records. Smaller labels, while limited financially, were successful at times due to scouting new talent and breaking it. This circumstance would lead labels such as Elektra, Metal Blade, and Megaforce to be on the ground floor of some legendary careers and genres. In this discussion, we discuss all of these record labels, many of the notable artists that inhabited their rosters, how they stacked up in the rock world, and much more. The era we're focusing on this time is 1980-1984.  Was the rule and oversight of the early 80's music industry a good thing? Is today's wide open musical climate a better thing for artists? Let us know what YOU think in the comments! We hope you enjoy Label Wars (1980-1984) and SHARE with a friend. Decibel Geek is a proud member of the Pantheon Podcasts family. Contact Us! Rate, Review, and Subscribe in iTunes Join the Facebook Fan Page Follow on Twitter Follow on Instagram E-mail Us Subscribe to our Youtube channel! Support Us! Buy a T-Shirt! Donate to the show! Stream Us! Stitcher Radio Spreaker TuneIn Become a VIP Subscriber! Click HERE for more info! Comment Below Direct Download  Learn more about your ad choices. Visit megaphone.fm/adchoices

Paleface is a prolific American songwriter & recording artist that performs with his partner, Puerto Rican drummer, Monica “Mo” Samalot. The high-energy & full-sound duo, is currently on tour in support of their new album Beyond the Bells, produced by Paleface, mixed by Grammy nominated enginnerJason Richmond (The Avett Brothers, John Legend), and mastered by John Greenham, who's received multiple Grammy awards, most recently with Billie Eilish.  Paleface was schooled by underground music icon Daniel Johnston, and discovered at an NYC open mic by Danny Fields (The Stooges, The Ramones, MC5), who managed him for the next eight years. Paleface has released albums for Polygram and Sire Records, and indie labels Ramseur and Shimmy Disc. He's been called a “major musical influence” by artists including BECK and The Avett Brothers. (He has collaborated & appeared on three of The Avett's albums, most notably as the “4th Thief” on their album Four Thieves Gone.) Additionally, Paleface is an accomplished visual artist, and his bright & bold music-inspired paintings are collected by fans worldwide. Website: https://PalefaceOnline.com  Facebook: https://www.facebook.com/PalefaceOnline/ Instagram: https://www.instagram.com/PalefaceOnline X: https://twitter.com/palefaceonline YouTube: https://www.youtube.com/PalefaceOnline Soundcloud: https://soundcloud.com/palefaceonline Upcoming shows: https://palefaceonline.com/events  

One of the big acts on the 80's glam metal scene was Cinderella.  Singer-songwriter and multi-instrumentalist Tom Keifer and bassist Eric Brittingham formed the band in suburban Philadelphia.  Gene Simmons of Kiss tried to get the band a deal with PolyGram, but was unsuccessful at getting the label to take interest.  Jon Bon Jovi was more successful with getting them a contract with Mercury/Polygram Records.  Keifer and Brittingham added guitarist Jeff LaBar and drummer Jim Drnec to the band.  Their debut album entitled Night Songs was released in 1986, and it achieved triple platinum status.  Shortly after the recording of that album, Jim Drnec left the group.  This, their follow-up album Long Cold Winter, would continue the band's progression in the glam metal genre, but would see a subtle shift towards more blues rock.  It would also see the introduction of Fred Coury as drummer for the group, though this would come after the album was recorded utilizing percussionist Cozy Powell for almost all tracks on the album.  This second studio album would be a commercial success as well, reaching number 10 on the US charts and achieving double platinum status before the end of the year.  The album included the rock ballad “Don't Know What You Got (Till It's Gone),”which would reach number 12 on the Billboard charts, the highest charting single for the band.  Video was a significant factor in the success of the band, and they released a video compilation in 1990 called “Tales from the Gypsy Road” featuring their promo videos and live medleys.Cinderella would be predominantly an opening band through the late 80's and early 90's, touring with Poison, Bon Jovi, and David Lee Roth.  Unfortunately the band would decline by the mid 90's due to various setbacks and drama with personnel as well as shifting popularity in the music industry.  Their last performance was in 2014.Break out the hair spray as Wayne leads us through this album. Bad Seamstress Blues/Fallin' Apart at the SeamsThe leading track to the album starts with an acoustic blues number paired with a heavier blues song, complete with slide guitar and harmonica.  The lyrics are of a life that has come full circle.  No regrets, but a mixture of success and sorrow.  “Look in the mirror at what I found, It's just the past and it's over now.”Gypsy RoadThese lyrics discuss perseverance to achieve success, but also the loneliness and doubt that come with realizing that dream.  The song is a composite of a life on the road, complete with hotel rooms and overnight rides on the tour bus.  This song hit number 51 on the Billboard Hot 100.Take Me BackThe final song on the album features blues instrumentation including the slide guitar and more cow bell!  The lyrics reflect on a younger life from a distance.  The singer reminisces about how he was raised and wanting to be reminded of what he left behind. ENTERTAINMENT TRACK:Axel F (Main Theme from the motion picture “Beverly Hills Cop”)This movie from the mid-80's made its debut on network TV this month. STAFF PICKS:Electric Blue by IcehouseLynch gives us a cool start to the staff picks with Australian band Icehouse's biggest US hit.  The lyrics tell the tale of a man pursuing the love of a woman who seems above his station.  “Icehouse” is an Aussie slang term for an insane asylum.  This song was written by lead singer/songwriter/multi-instrumentalist Iva Davies, and Jon Oates of Hall & Oates fame.Heaven Tonight by Yngwie Malmsteen's Rising ForceBruce features neoclassical metal guitar virtuoso Yngwie Malmsteen paired with the vocals of former Rainbow and Deep Purple front man Joe Lynn Turner.  This is off Malmsteen's fourth studio album, “Odyssey.” This album went to number 40 on the Billboard 200 charts, the highest charting Malmsteen album to date.Wait by White Lion Rob brings us a power ballad that peaked at number 8 on the US charts in May 1988.  It was originally released in June 1987, but did not enter the charts until February 1988, based on the strength of their video on MTV.  The video featured Christie Muhaw who died at the age of 24 in a car accident less than a year after the video was released.Damn Good by David Lee RothWayne's staff pick continues the blues focus  with a power ballad from Roth and 12-string work by virtuoso Steve Vai.  The lyrics were inspired by an encounter Roth had with an old high school friend who had some high school pictures.  It is a wistful song remembering friends and good times from the past.   NOVELTY TRACK:Killer Klowns by The DickiesWe close out this week's podcast with a track of punk rock's The Dickies.  This is off their EP and the movie "Killer Klowns from Outer Space. "

Kevin Beauchamp has a new record store and music venue called Katalyst in Chicago's  Hegewisch community. Before Katalyst,  Kevin was an insider at A & M records in LA then Polygram in Chicago. His work spans many Great Black music genre's including hip hop, jazz and house music. From Common to the McAllister Brothers, Kevin shared his Chicago Story, his career and his thoughts on the State of House Music. Support the showwww.VintageHouseShow.com | www.VintageHouseShow.tvPreserving and Celebrating the History of House Music

You can't tell the story about hip-hop without telling the story of Def Jam. We break down the business behind of one of the most iconic record labels of all time. Join me, Dan Runcie, and friend of the pod, Zack Greenburg, as we discuss the triumphs and challenges that shape Def Jam and its legacy.[00:04:44] Def Jam influence on modern hip hop[00:08:59] How Russell Simmons and Rick Rubin met[00:18:18] Simmons and Rubin part ways[00:26:23] Lyor Cohen takes over, Polygram deal[00:34:24] Def Comedy Jam and Def Poetry Jam[00:42:59] Late 90s run: DMX, Jay Z, and the UMG sale[00:52:11] Def Jam Vendetta[00:58:27] Jay Z becomes CEO[01:12:09] LA Reid, Def Jam in the 2010s[01:21:54] Most effective Def Jam CEO?[01:28:31] Dark horse move?[01:38:05] Missed opportunitiesEnjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.

In the innovative world of games—where narratives intertwine and the stories we craft engage and inspire—we eagerly welcome Joe Nickolls, a prodigious titan in the games industry.Joe, boasting over two decades of experience, has sculpted, refined, and reshaped AAA Video Game development, contributing to some of the world's most loved, recognised, and revered titles. In today's episode, Joe walks us through his captivating journey, transitioning from radio, Polygram, and Universal Music to the dazzling heights of franchises such as FIFA, NHL, and The Sims. Witness the evolution of a man who, after scaling the peaks at Electronic Arts, Microsoft, and Capcom, felt the call of home. This led to the creation of Vancouver's latest award winning treasure, the phenomenal Timbre Games Studio.We dive deep into Joe's vision with Timbre—unearthing the 'Why' underpinning the studio, with its commitment to diversity, value and values and why 'Culture Drives Creativity'. We shed light on the importance of multipotentiality and diversity of thought in the games industry, echoing the belief that "Talent Comes From Anywhere" regardless of one's background.As we delve further, Joe provides an insider's perspective on the industry's recent transformations, from the dynamic shifts in mobile gaming and subscription models to the resounding impact of "quality" epitomised by iconic titles like Diablo 4.Our conversation then shifts to the potential of content cross-pollination and franchise reimagination, referencing standout productions like 'The Last of Us', 'The Bear', 'Andor', 'The Mandalorian', and more. We discuss the intrinsic power of storytelling, examining the intricate balance between emotion, subject, and technology. We also venture into nostalgic games of old, revisiting titles like SSX, Fallout, Half-Life, and BioShock, emphasising how games can transcend mere entertainment to become lasting moemorable experiences.In the episode's finale, Joe speculates on the future of the industry, touching upon the burgeoning potential of AI and introducing the intriguing 'JoesImpact100', leaving listeners with an amazing NASA encounter you're not going to want to miss.This isn't just another podcast episode—it's a deep dive into the games industry, its evolution, and a salute to the infinite opportunities borne from genuine creativity and innovation. Remember, games are more than play; when crafted rightly, they sculpt memories that last a lifetime. So, sit back, relax, and enjoy this enlightening journey!---------If you've found value in our conversation, please like, share, and subscribe. Your support helps us spread these important messages and grow our community. Listen to The Purpose Made Podcast on Spotify, Apple Podcasts, and other platforms or watch along on Youtube: https://www.youtube.com/@PurposeMadePodcastLet's continue this journey of lifelong learning and transformation together!If you have any thoughts on today's topics, drop us a comments. We love hearing from our community and often use your insights to shape our next episodes. Join our tribe and lets grow together https://plus.acast.com/s/purpose-made-podcast. Hosted on Acast. See acast.com/privacy for more information.

In the dynamic world of music, a few trailblazers stand out, reshaping the industry with their audacious ideas and unshakeable passion. Andy Macdonald - the maverick behind the Go Discs and Independiente record labels - is undeniably one such luminary. With a knack for spotting raw talent and an unwavering commitment to artistic authenticity, Andy is one of the most successful UK independent music entrepreneurs of the modern era.In this World Exclusive Podcast conversation, we discover how his early interactions with the music industry at Stiff Records exposed him to the inner workings of record labels and the art of artist development. We learn how his journey in the business was kick-started through a strong passion for discovering and nurturing talent and a conversation that lit the fuse...And for the first time, Andy shares his experiences with Paul Weller. From signing him to Go Discs in 1992 and the release of their first single together "Uh Huh Oh Yeh!".This was the song that open up my world to Weller and what a journey it was in the 90s!.That debut solo album (via a Japanese record label) to Wild Wood and then the huge success of Stanley Road.We'll hear how they continued to work together through Heavy Soul and Heliocentric, despite the Polygram takeover of the label, and then onto a new venture - Independiente with the album's Days of Speed and Illumination.Founded in 1983, Go Discs quickly established itself as a breeding ground for innovative and groundbreaking artists. Andy's vision was simple yet profound: to provide a platform for artists to express their creativity without compromising their artistic integrity. This ethos resonated deeply with musicians and listeners alike, setting Go Discs Records apart from its contemporaries.Key signings included Billy Bragg, The Housemartins, The LAs, Madness, Beautiful South and of course, Paul Weller. Hosted on Acast. See acast.com/privacy for more information.

Few record labels have left their stamp on the industry quite like Motown. This assembly line churned out hit song after hit song in the ‘60s and early ‘70s. With a who's-who roster — Marin Gaye, The Jackson 5, Diana Ross, and Stevie Wonder, among others — The Hitsville U.S.A. sign Gordy put on Motown's front door became warranted. This episode is the story of Motown Records — it's formula for success, what led to its decline, and where it stands today under Universal. I'm joined by friend of the pod, Zack O'Malley Greenburg. Here's what we covered in this episode:0:38 Berry Gordy's origin story8:08 Motown museum in Detroit9:20 Cultivating a culture of creativity13:05 Shifting the sound of Black music20:12 Motown's knack for discovering talent 34:29 The beginning of the decline36:12 80's decade of transition39:48 Post-Gordy struggles45:51 Motown's uncertainty today53:59 Best signing?55:16 Best business move?568:45 Dark horse move?1:01:58 Biggest missed opportunity?1:07:13 Motown big-screen picture1:09:22 Berry Gordy won big1:10:41 Who lost the most?1:14:56 Zack's Jay Z indexListen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Zack O'Malley Greenburg, @zogblogThis episode is sponsored by DICE. Learn more about why artists, venues, and promoters love to partner with DICE for their ticketing needs. Visit dice.fmEnjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.TRANSCRIPT[00:00:00] Zack Greenburg: Berry Gordy created with Motown and sort of the Motown genre, which I think really like more than any label has become synonymous beyond just sort of like the name of label itself, you say Motown music, and a testament to the sound that he created,[00:00:13] Dan Runcie Audio Intro: Hey, welcome to the Trapital Podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from the executives in music, media, entertainment, and more who are taking hip hop culture to the next level.[00:00:38] Dan Runcie Guest Intro: Today's episode is a deep dive into the one and only legendary Motown records. At its peak, Motown was the most successful black business in the country. It peaked at 30 million dollars of revenue in 1968 and Barry Gordy and his team assembled a sound. a unique genre of music that produced hit after hit after hit and Hitsville USA lived up to its promise.So in this episode, we take you through the origins of how Motown came to be. What are some of the business principles and strategies that worked in its favor? And then what are some of the challenges that Motown faced too? It's now been 50 years since the peak of Motown. And this record label has had plenty of ups and downs and plenty of journeys that we went deep on in this episode. And I'm joined by Zach Greenburg He is a biographer of Jay Z and several others, and he also wrote about Michael Jackson. And in that he talked about Michael Jackson's time with Motown, especially in the Jackson 5. So we had a lot of fun in this one. So come take a trip down memory lane with us. Here's our episode on Motown.[00:01:42] Dan Runcie: All right. Today we're back with another case study style episode, and we're going deep into Hitsville, USA. Motown, baby. Let's do this, Zack, I'm excited for this one.[00:01:53] Zack Greenburg: Thanks for having me as always.[00:01:55] Dan Runcie: Berry Gordy is so fascinating because At one point, this was the most successful black business. They're the most successful black entrepreneur in the country invented a genre.And it's so hard to be able to do that. And that legacy still lives on today. We know so many record labels that have taken inspiration from what Berry Gordy built with Motown records, but let's start from the beginning. What inspired Berry Gordy to even want to get involved with music in the first place?[00:02:23] Zack Greenburg: Yeah. So, you know, Berry Gordy, and his family were in the Detroit area, you know, a bunch of serial entrepreneurs, get a record shop early on, but he was actually like semi professional boxer coming up. And, think one thing led to another and you just kind of saw that, you know, there was a market that was not being served in music.you know, certainly like the business was concentrated, on the coast and particularly in New York at that time, you know, eventually more in LA, but. you know, there was some stuff going on in Chicago. there was some regional acts, regional labels, things like that. But, you know, I think he just basically saw an opportunity, to start something.And, you know, sort of in the way that if you look at, Richard Branson or Puffy or, you know, what are those types of entrepreneurs? It's almost It doesn't really matter what they get into. They find a way to make it work. and they're just always on the lookout for a new sector. That's, kind of, you know, right for some creative destruction, know, and some refreshing or some freshening, some revising, I don't know, whatever you would call it.And, you know, in the case of Berry Gordy. Kind of amazingly, when you think about music over the past half century, he looked around and he thought, well, this is actually, this is a sector that is very promising amongst all the sectors that I could possibly get into. So, that's how Motown came to pass.[00:03:36] Dan Runcie: That point about whether it's Diddy, Branson, Gordy, and I think a lot of the tech CEOs fall in this category as well. You're going to put them in any generation. And I do think that these people would have found a way to make things work. And that's the same point you're making, right? He saw an opportunity to music, but let's say he came 30 years later.It could have been another aspect. Let's say he came today, probably could have been trying to do something in AI or even figure it out, how to make AI, be transformative with his music. And I think a lot of his work, whether you think about how he built derivative work or how he had this process with artists that we'll get into so much of it taps into, okay, here's an opportunity to optimize things.Here's how we can make things work. And music just happened to be the format. He chose it.[00:04:21] Zack Greenburg: Absolutely. And even, you know, when you think about it, he got started sort of mid century 30 years later, he was looking into other things, getting involved in film and TV. And You know, moving the business out West, but, you know, we'll get there eventually, but, he certainly did, you know, find other ways to extend the Motown brand as time went on.[00:04:37] Dan Runcie: So he starts off, he has this record business and things go okay with that. specifically talking about the store. And that was a lot of it was connected a bit more from the family perspective, but then he ends up getting the job at Ford specifically working with that Lincoln mercury plant. And that's when he was only there for 2 years, but he then sees how the process works and the whole concept of Ford is, which is that assembly line process that Henry Ford has been famous for.He sees that and then he taps back into his opportunities with music and he's like, okay. Okay, there's an opportunity to do the same with music. So he sees this assembly line, essentially have all these parts go through the inputs. And then the output, you get this car, he wanted to be able to pull some kid off the street, bring them into the Motown and bring them into this record label facility.And then outcomes a star. And he felt like he had the ability to be able to create that type of dynamic. And it took some time to get there, but that's essentially what he did. And a lot of the creations of what we saw from Hitsville USA was that exactly.[00:05:48] Zack Greenburg: Absolutely. And, he'll tell you that, I've interviewed him a couple of times. Once for Forbes, once for my book, Michael Jackson Inc, where he talked a lot about that. And, you know, he really has a formula, for making a hit song. And, you know, it's sort of like the song has to have a clear beginning, middle at an end. The chorus has to have a sort of grand arc that summarizes the song every time it happens.And then there's a sort of like grand finale bridge ending thing that, brings it all together, always at the end you hear the artist shout out the song's name almost, you know, invariably one last time and you know, that's like pure marketing, right? And you think about it in those days, this great songs on, you're hearing it, but like, you know, maybe you're in the car, it's on the radio, maybe you're artist and a record player.It's not popping up on your phone. So you know what it's called when you hear Michael Jackson shout out, I want you back at the end and I want you back. what you're going to go out and buy, you know what, you're going to call in, you know, to the radio station and ask them to play. So, it's very calculated, it really works and it's proven and, you know, if it sort of seems like, gosh. You know, this is like a cliche. This is obvious. I think part of it is because he helped create this cliche, obvious thing, right? I mean, things become cliche or obvious because they're smart or necessary most of the time.So, you know, at some point it was novel and, you know, very corny, I think was part of, making that whole song structure novel. And, you know, really. When you look at how he executed it, you know, I think a modern day analog, we talked about this, you know, before on our bad boy episode, but so, you know, his role was very much like the Puffy role, or at least the early Puffy role in production. So, you know, he had a hand in songwriting and production, but, you know, mostly he figured out who he wanted to have producing his labels, songs and sort of who he wanted to be in charge of authoring that certain type of sound.So for Berry Gordy, it was a handful of, producers called the corporation, just like Puffy had the Hitmen. And, you know, then he would kind of come in and do his own little thing on top when he thought it was necessary. But, you know, in a way it kind of adds that whole assembly line aspect, right? Where, you know, that there's going to be a certain level of quality, there's going to be like a distinctive sound, whether it's a bad boy or Motown, or, you know, even going back to, you know, what a Ford car was, you know, in those days you had kind of an ideology to get.And I think that's one of the things that really set Motown apart.[00:08:08] Dan Runcie: Exactly. And I think with that too, you have him going through the process of starting this. So this record label started with an 800 with 800. That's what he had initially. And he uses that to then start Hitsville USA. So that's the location on Grand Ave in Detroit.Have you been to this museum by the way?[00:08:30] Zack Greenburg: I did. We did a special event there. One time we had the Forbes 30 under 30, Summit and we did this like, special, like one off private interview where I went there with Quavo and we sat in Motown studios, you know, where Michael Jackson and all them had recorded. and we did a little like video discussion on the state of the music business, I think it's floating around the internet somewhere, but, it's a really cool building. I mean, I think what strikes. Me the most, you know, like the first time I went in is like the fact that just a house.I mean, it really just looks like a house. the rooms are sort of like room size, you know, it's not some sprawling like, you know, I don't know, institutional type place like a lot of modern, recording studios, you know, it's just a converted house but you know, you kind of walk through each room and it's museum and everything now, so you can kind of get a feel for it. It's very different from the modern day glitz and glamour of the record business for sure.[00:09:20] Dan Runcie: Yeah, been there twice. it was really cool because just like you said, you feel like you're actually in a home and that's the vibe that the studio gives you. And I felt like the people that were the tour guides as well, they clearly knew their history in a way where it should sound obvious, but that could obviously be hit or miss with museum sometimes.So I felt like that piece of it was good. And it ties back to a few things that tap into the culture that it is. Gordy wanted to create that. I think make it work. He lived upstairs. Studio is downstairs. So he has everything there and he wanted to make this somewhere that creativity could spawn at any particular moment.So he wanted to create a 24/7. Set up where he had made sure the vending machines were always stocked. So people could stay there year, you know, day in day out. If creativity comes to you at 3 p. m. or 3 a. m. you can go right there and do what you have to do. And you could keep things moving there internally.And this is one of the things that I do think worked really well for them because. Although I think the music industry has gotten away from this, there was this era where the culture and the vibe that you could create from a label and all that continuity really helped things. So when you saw how deliberate he was from an assembly line perspective was essentially keeping his product in place and keeping all the materials in place so that it can produce outputs at any given moments to just increase the likelihood that you could have hits coming time and time again.[00:10:49] Zack Greenburg: Yeah, for sure. And, you know, I mean, he certainly spoke a lot about, quality control, which is, it's kind of funny, you know, given the eventual QC relationship, but, you know, I think that's a really big part of it. And when you're that hands on and, you know, in some cases you could say micromanaging, but it does enable you to really have a unified.We can also get into this, fact that at some point it can become a bit of a creative constraint for artists as they mature.[00:11:14] Dan Runcie: Right, because with quality control, there was someone on the team that listened to everything that came through Motown and they essentially picked the best. They brought it to this weekly meeting and most of the Motown artists weren't writing or producing their materials necessarily, but they were going in and you had all these artists that would essentially sing.The same exact song and then they would pick the best version that came out of that to then release the song. Sometimes they had multiple artists that would end up releasing a version. And we saw different versions of this where you had both Diana Ross and Marvin Gaye have their versions of Ain't No Mountain high enough.Granted it was a few years later in different songs, but a lot of that stems from that quality control aspect. And there's this one quote that, was here from One of the books that was written about, Berry Gordy and Motown, where they talked about quality control and they said, quote, the artists were a means to an end in a way, end quote.And that's exactly what we're talking about how the downside is that it could limit creativity, but the upside is that it gives you the opportunity to get the best polished diamond from all of the creations that come from this studio.[00:12:24] Zack Greenburg: Absolutely. And man, there were quite a few, right? I mean, when you look through, I mean, the heydays, Smokey Robinson, the Miracles, Diana Ross, the Supremes, Four Tops, Marvin Gaye, coming into, you know, Michael Jackson, the Jackson 5, you know, think we've talked about in our previous discussions about hip hop, you know, like sort of the staying power, of different labels and, you know, and how you can kind of keep identifying talent and keep it coming. I mean, that's quite a breadth You know, of like musical accomplishment that they've got, that you could say that Berry Gordy identified over the years.So, you know, I would really, obviously I'd put him up against any other, identify any A& R, any, you know, music mogul in the history of the business, for sure.[00:13:05] Dan Runcie: I agree. And I think the other thing that's interesting too, is This taps back into the whole process and quality management things. Berry Gordy really wanted to help shift the sound and direction of this label because at the time, black music and music that was made by black artists was quite segmented where people didn't feel like it could reach beyond a certain audience.And he experienced some of this himself. One of the reasons that his record stores closed was because he was focused primarily on jazz music. At the time, even Black folks weren't really into jazz at that particular moment. So he just didn't have the market to be able to continue this. So I think that helps Chase Motower.He says, okay, I want the music that's able to be listened to by everyone. I want Black people to ride with it. I want white people. I want anyone in America to be able to ride with the same way that people would listen to the Beach Boys. And he had a few more interesting things that were part of this process.One, everyone had an etiquette coach. And these are things that we're teaching them, essentially, how you have black people essentially speak to white people. Granted, I think there's a lot of that that is problematic. That probably wouldn't fly into the same ways today, just given some of the language there.but then additionally, he also had white salesmen that were essentially the ones that were promoting the records in different areas, going to different radio stations. And he would go as far to insert in records that he's promoting to not even show the artist on the cover because he wanted the record to reach.And he didn't want people to necessarily immediately see or relate it to a black artist, which I thought was interesting, but lined up with a lot of these things. So, even though some of the choices clearly were problematic, it probably wouldn't fly at the same way today. That's how he was about process and wanting to essentially be able to sell this talent anywhere in the country.[00:15:01] Zack Greenburg: Yeah, and it's especially remarkable when you sort think of the cultural context of, you know, of when this is all happening in the 60s. You know, I mean, this is a time of great polarization and social change and, you know, really like turmoil, in a lot of ways, disunity, but, what Berry Gordy created with Motown and sort of the Motown genre, which I think really like more than any label has become synonymous like a genre, you know, beyond just sort of like the name of label itself, you say Motown music, and you're talking about like a genre, as much as you're talking about a label, the fact that you'd be able to sort of create that it like in the 60s, even the late 60s, when things were really why we think we're polarized now.I mean, the late sixties, oh my gosh. Like what a testament to the sort of the sound that he created, which, you know, just like bridged all these divides and, you know, you obviously still go to any wedding, black, white, you know, at anything. And, you're gonna hear Motown all over the place.So I think that kind of goes back to what he created, you know, even at the time. being so accessible to so many different audiences and, you know, one of the things he told me, when I interviewed him, he said that, Martin Luther King came to see him, in Detroit, at the peak of the civil rights movement.And apparently, according to Gary Gordy, MLK said, he said, what I'm trying to do politically and intellectually, you're doing with your music. I love the feeling people get when they hear your music. And so maybe we can make a deal. And they made a deal to actually put out some of MLK's greatest speeches.They put out three albums on Motown and Gordy kind of summed it up by saying, if you do the right thing will come to you. So I thought that was such a cool. Little nugget that people don't necessarily realize. and, you know, I think people don't, think of Berry Gordy as like avant garde, you know, civil rights activist or anything, but, he kind of approached it in his own way, which was to make this music that could, you know, that could really bring people together.They could also get black culture, you know, into the mainstream us culture, at the same time. And, you know, I mean, we saw that, you know, decades later with hip hop, but. Berry Gordy, you know, he made that blueprint, you know, very, very, very early on.[00:17:03] Dan Runcie: It's a great story because I think it highlights the complexity and that people just aren't in these corners. And as you mentioned, Berry Gordy wasn't known for his civil rights activism. In many ways, people would often point to things that he may have shied away from, where I remember, especially in the 70s when you started to hear a bit more of a pacifist and things like that, there was a push and people wanted Motown to lead more into this and he necessarily wasn't as eager at the time and I remember even Marvin Gaye's What's Going On, one of the biggest records that was ever made.There was tension leading up to that because Gordy was like, wait, what is this? you want to do this? Like, what are we doing here? And then it eventually gets made. And then you see how I feel like every time that one of these publications has one of the greatest songs ever made, I'm sure it's come up on number one, or at least on several, one of these.So you see that, and you've seen other areas where he clearly has leaned into this, but I do think that his. Place in his role at that time, often highlighted some of that ongoing tension that we've seen from black leaders over the years about people want progress, but what's the best way to agree with this?And you date back to some of the more public debates between folks like Booker T. Washington and W. E. B. Dubois about what is the best way for black progress and group economics and things like that. And I feel like Berry Gordy clearly was on a Particular side of that, that not everyone may have agreed with, but he clearly still wanted to be able to help progress things in a particular way.So he's a very fascinating figure as we look at this progression, especially in the 20th century.[00:18:42] Zack Greenburg: Well, that's right. And, you know, I think there's a reason you see him put out MLK speeches. I don't, think he put up Malcolm X's speeches, you know, but that was just sort of his approach, right? He was more Martin than Malcolm.And, you know, obviously you could speak to the merits of either method, but, Berry Gordon definitely, had his preference there.[00:18:59] Dan Runcie: The other thing that I want to talk about, you mentioned it earlier, but the talent and the breadth of talent that was in this place is such a constraint and such a valuable time.It's one of those things where just imagine walking through on a, some day in, let's say 1964, you're just walking through Motown and all of the names that you could just see there making music on a Wednesday afternoon. It's crazy to think of the names and also how he found folks because. Look at Smokey Robinson and Smokey Robinson, the miracles essentially end up releasing shop around, which I do think ends up becoming the first true hit that, or the first, hit single that comes from Motown.He found that he found Smokey on a street corner performing almost, and in many ways, it feels similar to. What we see decades later with Sylvia Robinson driving around the New Jersey tri state area, finding hip hop artists for Sugar Hill Gang. This is how these early entrepreneurs did it. They were the talent development.They saw things and granted it was a much less crowded market. So the people that were pushing music onto folks had a little bit easier time breaking through, but it was still tough, especially at the time. And he was able to make it work in that way, which was, cool.[00:20:13] Zack Greenburg: Yeah, I mean, he actually did. And, you know, of course, like the one group that we haven't talked about too much yet is Jackson and sort of the way that, different groups were signed in those days, you know, they're all the stories about, well, you hear, you see somebody busking and you sign them and this and that.And, sort of some of the stories, though, if you talk to a lot of different people, you get, you talk to 3 people, you get 3 different stories. Right? So, I think for my book on MJ, I talked to. His dad, I talked to Berry Gordy and I talked to the guy who signed them to this little record company called Steel Town in Gary, Indiana.And they all had three different versions of, you know, how it went down, right? And so, there's that old saying, basically that the winners get to write history and, you know, Berry Gordy won. So, you know, whether his version is a hundred percent, accurate or not, that's kind of the version that, you know, we tend to hear I think his version is usually correct, but there's definitely some, you know, embellishment or some showmanship from time to time.So, you know, I think, for example, with the Jackson 5, Berry Gordy decided to put out, I think it was their first album as Diana Ross presents the Jackson 5 and, you know, she had this little thing where she's like, I discovered this group from Gary, Indiana and like blah, blah, blah, and that wasn't really how it happened at all.And it was really, you know, depending on who you ask, but I think what happened is Suzanne DePasse, who was one of Berry Gordy's lieutenants, had discovered them, and I think it was, there's another band who heard them, like sent them along to Suzanne DePasse that like, she kind of did the legwork for Berry Gordy.And it was like many times, many. Kind of connections later that Diana Ross, you know, became connected, to the group. but, you know, it's such a better story, right? Like Diana Ross has found these kids from, from the Midwest and, you know, bringing them out, onto Motown. So. I always think that's, kind of funny how, the stories end up getting presented and, you know, when you hear it from everybody else involved, I mean, and Diana Ross, of course, did become, really instrumental and especially Michael's life, as time went on, moved to LA and I think she, he actually lived with her for a little while while they were, you know, making the move and all this stuff, but, you know, it, didn't exactly start out that way.[00:22:18] Dan Runcie: Right. And the Jackson 5 is interesting because they, in many ways were the last group that came through in the heyday of Motown because the heyday we're really talking about is that 50 to 60s run that we've been talking about with a lot of the groups and the artists that we mentioned, especially young Marvin Gaye, young Stevie Wonder, Diana Ross and the Supremes.And then Jackson 5 comes along. But they come along towards the end of the decade. And just for some context setting, in 1968, Motown is doing 30 million in revenue. And they at one point had a 65% hit rate on the songs that they released in terms of actually being able to chart. So the highs were quite high and they were, killing it.The thing is, though, in the early 70s, this is where things start to shift a little bit, because at this point, Berry has his eyes set much bigger, and he wants to move beyond things in Detroit, because of course he was in the Hitsville, U.S.A. house, solely, after the riots that happened and there was some damage there, they ended up expanding things closer.they ended up expanding further in Detroit to just get a bigger size studio there as well. But then, he eventually wants to go to Hollywood so that he could get more into film. He wants to get into production for plays. He wants to bring these artists on the big screen. And it makes sense. We see why this is a huge medium.You saw how much, popular this talent is. And if you can get people to see them and buy into this, visual image that he's clearly curated, no different than we saw someone like Diddy decades later curating things, he wanted to do that. And I think that in many ways, this was one of those big challenges that any leader can have.Do you stay with the thing that's working really well? Or do you try to expand? And when you do expand, how do you find out? How do you make sure that you have the best talent around you? How do you make sure that you're well equipped? And I think that bowtie really started to strain because as things started to grow for the label, a lot of the artists started to feel like they were getting neglected because of these broader ambitions.And that in many ways, now we're dating 50 plus years ago to like 1972 timeframe. That's when a lot of ways was the beginning of the end, at least in terms of the Motown that a lot of people grew up with and knew.[00:24:41] Zack Greenburg: I think so for sure. And, you know, I think as an entrepreneur, you have to seek the next thing, right? I mean, you don't want to stagnate and you kind of have to take the risk and go for the next big thing and maybe you succeed and maybe you don't, and I think that's at least the way we've been conditioned to think. On the other hand, there could be an argument for like, we don't need to have this growth at all costs mindset as a society, you know, what's wrong with having a really awesome business that's just like constantly, you know, successful has happy employees, you know, that kind of thing. But, I guess that's, you know, this is, you know, Trapital not, you know, Trapsocialism, I dunno, we're talking within a certain realm of, you know, of economic, styles and systems.So that's what's gotta happen. And that's what Berry Gordy decided to do, you know, by moving everything to LA but we talked, a while ago about John McClain, and his role in kind of in, in the past few decades as an executive. He's somebody who rarely talks, but somebody interviewed him at some point.He said that he thought that moving to LA was, kind of the beginning of the end for Motown, because it, kind of changed Motown from being a trendsetter to being a trend follower. And, I think I agree with that. And, you know, that's not to say that there wasn't additional success, especially, you know, beyond the recorded music business that occurred. And that moving to LA kind of, you know, like supercharged some of that, but yeah, you know, I mean, I think when Motown was in the Motor City, in its namesake place, like, You know, it was sort of like, I don't say the only game in town cause there were other labels, but I think it was sort of, the main game in town and, being in a place that, you know, wasn't sort of the epicenter of the music business allowed it to have kind of its own unique style and not sort of be influenced as much by what else was going on.And, you know, don't forget in those days, it wasn't like everything was, you know, it wasn't like we were all tuning into the same social media channels. you know, we weren't even like really tuned into cable TV or anything like that, you know, there wasn't the same kind of like national culture that there is today that, you know, where trends just kind of like fly across in a second. And things did kind of take time to move from one place to the other. throughout the country. So, you know, there was like a certain regionalism to it that I think set Motown apart and, you know, maybe you lose a little bit, you know, once you're out in LA, but, you know, certainly around that time, you really start to see some of the artists who wanted more creative freedom, leaving, you know, some others pushing back, you know, I think even within, a few years of moving to LA, the Jackson 5, we're kind of, having some issues with Motown and in terms of, you know, can we make some of our own types of music? You know, do we really have to stick to quite the assembly line? So, yeah, I do think it was a mixed bag for Berry Gordy to head west.[00:27:20] Dan Runcie: And this is where things really started to struggle because a lot of what worked for Berry Gordy was so perfect for. The Hitsville USA West Grand Ave mentality of building everything there and not to say that he was only an early stage founder that couldn't necessarily progress. But I think a lot of the processes he had were more fit for that era. So naturally, you see the growing success of the Jackson 5 and Michael is no longer 9 years old.He is at this point now a full on teenager, but unfortunately, it just didn't quite. Progress in a few things, as you mentioned, you wanted more, they wanted more creative control. They also wanted to have a bit more ownership. There were disputes about royalties. And I remember reading something that said that the Jackson 5 had calculated how much they got.And it was only a 2.3% stake of how much revenue was either coming through or would be coming through in the future. And they see this and they're like, okay, well how can we see our opportunity to get more of that? So then they leave for Epic. And then you also saw a handful of artists at this point were already on their ways out and things were definitely starting to look a little bit more bleak because by the time you get to the end of the seventies, the beginning of 1980s, The music industry was already, granted things are cyclical, but they were starting to sour a bit on black music.This was the end of disco and people wanted nothing to do with that genre. And even though Motown wasn't disco necessarily, there was vibes of the types of artists they were trying to naturally capture in the 70s. So then that had all of black music taking a hit in a lot of ways and there were groups like the barge and others that I think they tried to make work. Obviously, I think Stevie Wonder was a mainstay during all this and that worked out really well for them, but he was really just 1 mainstay. You did have Marvin Gaye, but again, still, it just wasn't necessarily. The same, and I think that they definitely started to struggle even more at that particular moment.And even as early as the 80s, you start to see more of that narrative that honestly, you still hear today about recapturing that Motown magic or recapturing that Motown journey. People have been saying this now for 40 years.[00:29:40] Zack Greenburg: Yeah, for sure. And I think one thing that people forget is that even though the Jackson 5 moved on to Epic, you know, and that's where MJ ended up, you know, Epic and CBS, and, that's where MJ ended up launching a solo career, people forget that Jermaine actually stayed at Motown initially. He had married Berry Gordy's daughter and, you know, they had this whole wedding with like, you know, 150 white doves were released and, you know, they had this, you know, kind of fairytale situation. And apparently, Berry said to Jermaine, like, Hey, you can go with your brothers and stay with me, whatever you want.And, you know, knowing Berry, I think he maybe didn't put it that delicately or, you know, that was kind of a huge break from Motown because you know, he had really taken the Jackson 5 under his wing. They used to have, Gordy versus Jackson family, baseball games. Michael Jackson would play catcher. It was very So, you know, I think Tito was like the big power hitter, is what I heard. but yeah, for, you know, I mean, these were two families that were really intricately linked. And I think ultimately it kind of came down to, you know, there was some creative control issues, but, you know, Joe Jackson was, pretty controlling, Berry Gordy was pretty controlling and at some point, you know, it just, I think it became impossible for them to coexist.And so, Joe kind of guided them over to Epic to get that big deal, but, you know, Jermaine. It wasn't obvious that Michael was going to be, you know, by far the superstar of all the Jacksons. And, you know, Jermaine did seem at the time to be like the one who had the most promising solo career, or at least it was, you know, pretty close.And, you know, he never really found his niche is a solo act and eventually it would go on to get back every night with his brothers and go on tours and that sort of thing.[00:31:22] Dan Runcie: I think that's a good distinction because people will often point to and think about what are the big nine and then he drops off the wall. This isn't what happened. There's a pretty big difference between those few years. No difference than anyone where naturally there's a difference between a 15 year, but there were others that experienced.So many of the artists that ended up leaving at that particular year old artist and a 19 year old artist. You're a completely different person at that point. And that's exactly what we ended up seeing with Michael. So missed opportunity for sure missed opportunities that Motown had, we'll get to miss opportunities in a minute, but you often hear people talk about them not being able to keep Michael, but to your point, the Jackson 5 leaving Motown in 1975, 76, isn't the same as.Them leaving in 1970 time ended up having greater,success once they were able to have a bit of freedom after leaving Motown, which was a bit unfortunate because obviously, I think it would have been great to see them continue that success under Berry Gordy's umbrella and continue to see them grow.But not everyone is going to be Stevie Wonder. Not everyone is there to say, Hey, I'm with you until the end. And I'm going to be riding with you during this entire journey. It just doesn't work that way. People have careers. No different. You see them today where people see a bigger opportunity and the grass is greener.They want to take advantage of that, especially if they don't feel like they are being put in the best position to thrive. So in the 80s, Motown is now officially in its transition recovery mode, trying to recapture what was there and we see a few things happen.So they start leading in on debarge. And a lot of people, DeBarge did have a pretty big hit with Rhythm of the Night, but I do think that they tried to make the DeBarge family replicate some of this Jackson family, where you had El DeBarge, and you had all of these others, but it just didn't quite click, at least in a mainstream way to that perspective, but then you did have Lionel Richie, who did end up having a pretty big career, especially with everything he had done since the, Commodores and, but then you also had Berry Gordy's son that they were also trying to work into the mix, who performed under the name Rockwell, who had had that song, somebody's watching me that Michael had sung the hook on.So you had a few things there, but just didn't exactly click because again, it's stuck in two models. Berry wanted to continue to have complete control over it. And the artists just didn't want that anymore. I think that worked when you were literally giving artists. No giving artists in a region of the country like Detroit a platform and opportunity, but they had no other options.But now they had leverage. Now they could go talk to mca Now they could go talk to CBS Epic and some of these other labels. So Berry's mentality just didn't work as much. And then by 1988 is when we see him transition on from the label, at least as the CEO level. And then we start to see the new blood come in to run the record label.[00:34:30] Zack Greenburg: Yeah. I mean, I think it is important to note that, you know, although you could characterize the 80s as sort of like musical decline era for Motown, you know, in the way that many artists are entrepreneurs, like, seem to be in a period of delays over some decade or whatever, they actually get much richer during that period of malaise, because what they had built before was so good.And there's still kind of like, they're finally cashing in on it, whereas maybe they didn't cash in on it when it first happened. But like, enough of the sort of like older, wealthier decision makers who can pay them more are like, finally getting hip to the fact that, you know, this is a big deal.So, I would definitely think about Motown that context and that, you know, when Berry was able to sell, you know, a huge chunk, of the company kind of like step back from it, that was after like a a period of time when Motown was not as hot as it had been.But you had things going on, like Motown 25 in 1983, that special. Put together, where MJ came back and reunited, with his brothers and the whole Motown crew and he had, you know, all these other artists, but that was actually the first time I think that MJ moonwalked, you know, sort of in public, like you know, he sort of like the popular debut of the moonwalk and it just really kind of, Created, so much buzz around that, that then kind of rubbed off on Motown and didn't really matter whether he wasn't on Motown anymore, but it just kind of gave a little more shine to the label and gave it sort of like, a relevance, I think that helped kind of carry through to the end of the 80s and helped get Berry Gordy, this really big payday.So, I wouldn't discount like You know, I don't know the sort of like delayed reaction that sort of the half life of fame or whatever you want to call it. But, there were still some of these moments that were created, that kept paying dividends as the time went on. I think[00:36:13] Dan Runcie: That's a fair point because he also sold at this smart time when right as we're seeing in this current era that we're recording, it's a very hot time for music asset transactions as were the late 80s and early 90s too. That's when you saw Geffen do many of the deals that he had done and Gordy. Did the same where I believe he made 61 million from the sale, or at least his portion of the sale in 1988, which is huge.You didn't see people, especially black business owners that fully owned everything being able to cash out at that level. So that's a good point. I'm glad that you mentioned that. And with this is when we start to see the transition of leadership. And we start to see a few things that do ring true.Where the first person that takes over is Gerald Busby, who was leading black music at MCA at the time. And even though Motown had had a bit of its malaise in the 1980s, MCA did not, in many ways, it was seen as the leader in black music. And Bubsy was able to. Have quite a good amount of success there with all of the work that he had done.the thing is though, he had started to run into some issues because he was in this weird dynamic where this company, Polygram had owned part of the label, as did Boston Ventures, his private equity group, and Bubsy was at odds with the folks at Boston Ventures about. some creative control. And he had this quote where he says he'd rather quit Motown president than see the label become a cash cow for a huge corporation trafficking off of nostalgia.And that was a quote that was said back in the 90s just thinking about how. Similar, some of those quotes now come to today. And this was someone who was largely credited from helping to say blast black music from that disco era. But unfortunately, I think a lot of those tensions that he had had, at the time just made life a little bit more difficult for him at Motown.So he eventually we Left. And while he was there, he was able to at least get a few things under. Like he was the one that had brought in voice to men. He had Queen Latifah there. He had Johnny Gill, who was another artist at the time that was quite popular, but maybe hadn't necessarily lived on in the way.And his dreams were, he wanted to have Motown cafes, the same way you had hard rock cafes. He wanted to have the young acts going and touring around at different places to recreate that vibe. And this is something that we'll get into. I think we see time and time again, where these leaders have all these dreams and visions for what they see.Motown can be, but because of the powers that be because of other things, they just can't quite get there to make it happen.[00:38:51] Zack Greenburg: Yeah. And I think that one of the things that set Motown apart early on, you know, as sets many startups apart early on, and many record companies are early on is that they were independent and they could do whatever they wanted.And, you know, Berry Gordy was, sort of like the unquestioned leader and, you know, things kind of, in the way that things kind of get done, let's say more efficiently, if not, more equitably in dictatorships, like he could just get shit done, move things around, have it happen immediately. And so when you started to have, you know, these corporate parents, parent companies, you know, you'd have to go through all these layers of approval to do anything.And, kind of like stop being able to be agile. and I think that's especially important in the music business when, you know, you have to. Not be reactive, but proactive, right? You have to be ahead of things. So, you know, if you're getting to a point where you're having to wait on approvals and things like that, you've already lost because you should have been out in front to begin with.[00:39:48] Dan Runcie: And this is something that I think plagued Motown time and time again, because Gordy didn't necessarily operate in this way. He had so many people that wanted to replicate what he did, but they didn't have the same parameters and the same leeway to make those decisions. As you mentioned, they're now working for corporations that now have their own vested interest.And to be frank, one of the tensions that we see often in music is that these brazen, bold leaders want to be able to take big swings and do things that are innovative and off the cuff. And these corporations are hard set pressed on efficiency. They don't want to see overspending. They don't want to see over commitments, or they want to be able to feel like this is being run in a strategic way.This is something that in the Interscope episode that we talked about, Jimmy Iveen struggled with this as well, even as recently as his tenure with Apple music. But this is one of those frequent tensions that happens with music executives. And we saw that continue with the person that replace Busby, which is Andre Harrell.We talked about him a bit in the Bad Boy episode, but Andre, of course, at this time was coming fresh off of Uptown Records where he was working in collaboration with MCA and he was able to build a little bit of his own fiefdom there where granted he still had people he had to answer to, but I think he had a pretty good relationship with the folks at MCA up until the end there.Then he goes to Motown and he sees this opportunity. And there's a few things that stick out about this because. As early as a year ago, he was starting to get rumored as to be the next person to then take over. But then he gets 250k as an initial announcement. He takes out this full page ad, New York Times.And then he has this ad that essentially says from Uptown to Motown, it's on. And it's him sitting in the back of the chair and you see a sweatshirt in the back. And people hated it. People grilled him. The way that they talked about him, the trades and even Russell Simmons and others coming in and giving him shit about it.He had pretty verbal flight fights with Clarence Avon, who was pretty powerful at the time. And Clarence even said he had swung on him at one particular point and was quite critical of him as well. There's this one quote that I think was really funny here, where this was from the Netflix documentary that was, The Black Godfather, which was about Clarence Avon.And, or actually, no, this is before this summer variety interview, but they talked about this as well. The doc, Clarence says, Andre and I didn't get along. And then he pointed to an image of the Motown boy band, 98 degrees. And Avon says, Andre wanted to send these white boys to Harlem to make them sound black.And I was like, you're out of your fucking mind. And it's a funny quote, because I do think that 98 degrees. Maybe didn't exactly have as many hits as they probably would have thought, but in Andre Harrell's defense, and sadly, but true, the mentality wasn't necessarily wrong because of the 90s, the most successful Motown act that you had was Boyz II Men, and we saw at the end of the decade that, what's that guy's name, the con artist that had the boy bands, Lou Pearlman, like, he literally modeled Backstreet Boys and NSYNC after How can I find white boys to men and make them see modern contemporary and make this happen?And that's how he was able to have success there. And that was before, what's his name? That was before Andre Harrell was really getting going. So he saw where things were going. But it just didn't click at the time. It just wasn't right. And obviously 90 degrees ends up having some decent success, but that's well after Andre Harrell had left the label.So he ended up leaving and the press was not kind to him. Literally headlines were. Andre Harrell gets fired from LA Times it's a type of headline that we probably don't see now when record label execs get fired in the same way. I think the industry is much more controlled in its PR sometimes to a fault, but it was very interesting to see that, come through. And another interesting quote from that, Lucian Grange had called the Andre Harrell at Motown relationship, an organ rejection. In terms of the relationship there.[00:43:56] Zack Greenburg: Yeah, no, I mean, and it's kind of interesting if you think about, you know, around that same time. What was going on in the music business, what would have been a great fit at Motown that didn't happen, would have been to sign Eminem, right? I mean, rather than try to do it with 98 degrees, if you really want to go and sort of like figure out what the kids are listening to, and do the thing where you have a white guy making black music, like. Holy shit. There's Eminem from Detroit, you know, doing his thing. But, you know, I think it took different kind of Andre to pull that one off.So, you know, in a way well played, you know, I mean, in a way it was like Andre was maybe Andre Harrell was taking some risks, but he wasn't taking quite enough. Like, he wasn't going far enough. He wasn't going way out enough on a limb. So, if you were really going to try to read that Motown, then that then go all the way at the same time, though, I would argue.I mean, if you look back, it's sort of like what worked with Motown and what did it, I think one of Motown's greatest attributes is also a limiting factor. And that's the thing we talked about before it, it's a label, but it's also a genre. And so if you have Motown making hip hop, it's like, wait a minute this isn't Motown. Like this isn't the genre of Motown. Like this is not the thing that I heard at my aunt's wedding, you know, this is something different. So, I think that they got kind of caught in between and I know that they've done all this stuff in hip hop over the years and, whatever, but it still doesn't feel like quite a fit because Motown, I mean that, you know, Motown was Motown, Motown wasn't hip hop and, you know, maybe if it had started getting into hip hop in the early days of hip hop.you know, it would have felt a little bit different about that, but, you know, hip hop is Def Jam, hip hop is is Roc-A-Fella hip hop is Bad Boy, and I just, you know, for all the efforts that Motown has made to get into hip hop, I think, it, has had a hard time, you know, fully sticking in the way that it would need to for Motown to replicate its, early success.[00:45:51] Dan Runcie: And one of the things that I think that a lot of these post Berry Gordy leaders struggled with was... As you mentioned, yeah, with Andre Harrell or others, there was the desire and opportunity to be able to do more, but the combination of the corporate structures in place that just didn't give them the same freedom that a Berry Gordy himself would have had.And then secondly. The business structure of how Motown itself as a company was set up didn't necessarily allow that because even things like radio or promotion and things like that, they still relied on other labels under the corporate umbrella, even to this day to get some of those things in place.So it really wasn't. Given the same freedom, even though their name, especially in the late 90s early two thousands was used in, especially back then it was the whole universal Republic Motown group or whatever the amalgamation was at the time. It really wasn't given the same freedom as some of those other record labels were.And I think we saw those challenges come in from time with some of the other leaders as well, because. Afterward, after, Harrell left, you had George Jackson who was there, felt like a bit more interim there for a couple of years. And then you had Kedar Mazenberg who was there late 90s early 2000.And that was a bit more than Neo soul vibe. You had India, Ari and a few others, but he has this quote that he gave to the independent, 2000 where he says, but we're not going to dominate the pop charts. Like we used to, how can we, there are too many other companies out there for that. So please don't compare it to the Motown of yesteryear.This is someone that is in the leadership role saying that exact quote. like How do you get past that? And then he talks again. I think they made a comparison to Def Jam where he said, you know, Def Jam, it took 10, 20 years to get to this established guidance, the way that you did with someone like a Lyor Cohen.And you essentially had that with Berry Gordy. But again, Lior was doing this before Def Jam ended up, you know, becoming under the whole Island Def Jam group and everything happened there. After that, you have Sylvia Roan, who was rising up the ranks herself. Still one of the most successful Black women in media and music right now.She's currently at Epic, but she had her time at Motown as well. And I'm going to get into her because I have something I want to say for missed opportunities there. And then you get more recently to the era of Ethiopia Habtamirian, who was there from 2011. Up until 2022, and she's 1 of those that I do feel like was put in a pretty hard spot because on 1 hand, she was able to essentially double the market share.Thanks in part to the partnership that she had made with hip hop through quality control to be able to help. them succeed And this is especially when the Migos are first starting to pop off, and then that transitions into the success of artists like Lil Yachty and Lil Baby and City Girls and others. But I think that also some of the overspending and things like that were quite critiqued.And especially from a PR perspective, the same way I was mentioning earlier when. Andre Harrell's challenges were bright front and center for the entire industry to read. Ethiopia's necessarily weren't in the same way. And even in some of the aspects of her leaving, the media had they called it a bit more reflective of, oh, Ethiopia has chosen to step down.When, yes, that's true, but there was also a pretty large severance package from Lucian and others at UMG. And again, I don't think she was necessarily given as much leadership either, because Motown was kind of, and still is kind of under capital, but now they've essentially moved it back. They had announced that she was solely the CEO back in 2021, but that was a pretty short lived.And to be honest, it felt like. Yeah. 1 of those announcements that the industry made in this, like, post George Floyd era to try to highlight and support black CEOs, which was great to see, but she's someone that's talented. You don't want to see her just become a tokenized person to have this. So, even though, like any CEO, I think there was things you could point out that she probably could have done differently.Still wasn't given the most leeway to begin with it. Now we're back in this point where what is Motown who's leading Motown. It's essentially the subsidiary under capital, but it's now a brand. And who knows where things are going to be. And it's quite unfortunate, but given everything that we've said up into this point, it also, isn't that surprising just given the dynamic.[00:50:21] Zack Greenburg: Yeah, a hundred percent. And I think, you know, like you mentioned the the partnership with quality control. I mean, I think. That was a smart way to get more involved in hip hop because that was a brand that did have roots in hip hop more that, kind of resonated. and so when you sort of like, build as a partnership and look at it that way, it seems a little more credible than like,you know, Motown is doing hip hop now. so it's too bad that, you know, things kind of turned out the way they did, but, it's an interesting asset, right? I mean, it's a brand that has a lot of value. But it's not exactly clear, you know, how to sort of monetize it. And I think with Motown right now, it's like, it's probably about more, than the music, right?Like that's maybe where most of the monetization opportunity would be, whether it's, you know, Motown branded, you know, I don't know, films and, you know, I don't know, products, whatever the case may be. It resonates more, I think, than it does, as a record label. And people don't care so much about record labels anymore.Like we've talked about this, you know, in prior episodes, but it's not the same. You're not going to put on your record on a record player and see that big Motown logo on it, you're having something pop up your ear. And there, there's no visual, like, you don't know whether it's on Motown or Def Jam or Universal or Sony or, and you don't probably don't care.Right. I mean, and I think as things have kind of blurred together, genres are blurring together, you know, different, labels are gobbling each other up over the years, you know, people have just kind of like lost track and, you know, sort of like the idea of a label just isn't as important anymore.So, I do think that it's. a valuable piece of IP and, you know, there's things to do with it still. But, you know, I think, Berry Gordy certainly like squeezed, you know, all he could out of it and, did a great job of sort of ultimately profiting off of what it was that he built.[00:52:04] Dan Runcie: Right. Because what you have right now is this brand where they do have Motown the musical, which I do think has been pretty successful, both in the US and in Europe and elsewhere that it's traveled. but that's it. I mean, quality control partnership doesn't exist in the same way since they've been now bought by hive.Hopefully, Ethiopia and those folks were able to at least retain some type of revenue for helping to set the framework to make that deal possible, but we'll see I, where I landed with this is that. The way to quote unquote, I don't want to say save Motown because that can just seems like such a blanket statement, but if you were trying to improve it from its current inevitable state, it would be finding a way to spin off the asset and the catalog from Universal and having it be in the hands of someone else who can make it work.The challenge is Universal isn't going to want to give that asset up. That's one of their most valuable back catalogs that they have. So. I was thinking through it in my mind, the same way that you have someone like a Tyler Perry, who are these modern moguls that have a bit of that Berry Gordy vibe to them.The way that Tyler Perry is, we'll see whether or not he ends up buying BET, but could that same mentality be applied to a record label? And then with that, you're able to then build up your own promotion. You're able to build up your own talent, and then you take things in a slightly different way. I still don't think that guarantees success, but at least you shake things up in a particular way and you still give it that black ownership mentality.You give it a bit more of that independence and the autonomy and you could potentially see what happens because. We all know what the continued fate is as a legacy entity of a catalog holder that it would be under the UMG umbrella.[00:53:50] Zack Greenburg: Yeah, a hundred percent. Totally agree.[00:53:52] Dan Runcie: And with that, I think it would be a good time to dig into some of these categories here. So what do you think is the biggest, this will may be obvious, but what do you think is the biggest signing that they've done or that Motown ever did?[00:54:04] Zack Greenburg: Yeah, I think I'd go with the Jackson 5 I mean, you know, although Motown did not ultimately profit off of MJ's solo career, in the way that it would have if it had retained him for a solo career, Motown did profit off of the association as he became the biggest musical star, but basically entertainer of any kind in the world.and, you know, going back to the Motown 25 moment, you know, other kinds of associations. So I would say like good process. Not really a bad outcome, but like signing the Jackson 5 could have been the path to also signing Michael Jackson as a solo artist. And then, you know, just because that didn't work out in the end, does it mean that that wasn't a huge signing for them?[00:54:47] Dan Runcie: Yeah, I was going to say Jackson 5 or Stevie Wonder, which is the one that I had and I say him because of the longevity because even when times were rough, Stevie Wonder still had arguably his best decade in the 70s But, he had a number of them that were there, especially in the seventies. I think that was his strongest run and he stayed through. And I think that in a lot of ways helped bridge the gap during some of those low moments when other artists did come and went. Did come and go. So that was the one I had there.What do you have as the best business move?[00:55:18] Zack Greenburg: Well, okay. This is something we haven't talked about and maybe we should talk about it but more, but here we are, we'll talk about it more now. I think it was Berry Gordy setting up, his publishing company. So, I mean, maybe that's cheating a little bit because it was outside of, Motown itself but of He set up Joe bet, publishing, you know, pretty early on. And he didn't realize, you know, his big payday for it until later 1997, but he sold it for 132 million for just for half of it. so the EMI, and then he sold another 30% for I think 109 million. And then he sold the rest of it for, something like 80 million in, what was that?It was like 2004. So, you know, we're talking like over a quarter billion dollars and that's not inflation adjusted. you know, for the publishing and that, you know, that dwarfed whatever he got for Motown itself. So, and, you know, think about if he held onto it until, the recent publishing Bonanza, I mean, I mean, it could have been close to a billion dollar catalog, right?I mean, you know, there's nothing, really like it out there. So. He was always very smart about ownership and I think Michael Jackson knew that and, you know, studied him as a kid growing up. And that's kind of what convinced Michael to want to own his own work, and also in the Beatles work, which then became the basis of Sony ATV.And that was another massive catalog. So, yeah, I think the publishing side of it definitely gets overlooked and, you know, was ultimately the most, financially valuable part. But, even though it was sort of a separate. Company, you know, I would argue it, for sure it wouldn't have happened without Motown happening.[00:56:51] Dan Runcie: That's a great one. And I'm glad you mentioned that. Cause definitely could get overlooked and doesn't get talked enough about in this whole business. I think publishing in general is something that people don't understand. And so they just don't, dig into it, but he wrote it. I mean, he owned everything.And obviously when you own the value. When you own something that valuable, it has its assets. And I think why publishing continues to be so valuable in the industry i

Today! Two Music Business icons Under One Roof You tell me if I am exaggerating. Originally from Queens, NY, Michael began his career as a staff engineer at Jimi Hendrix's Electric Lady Studios, over a 9-year period working with a multitude of artists including, Chick Corea, Stanley Clarke, Kiss, The Rolling Stones, Led Zeppelin, Chic, Ike & Tina Turner and Hall & Oates.  From there launching his engineering and mixing career with Billy Idol's ferocious, Multi-Platinum album, ‘Rebel Yell'.  Mike Gormley Ottawa-born Mike Gormley has achieved top recognition as a journalist, record company executive, artist manager, music supervisor for TV and films, and marketing/PR expert in 40+ years in the music industry. 
Gormley, as his friends call him, has been responsible for setting into motion many artists' careers. His work has brought the world such successful artists as film composer Danny Elfman, the massively successful pop band The Bangles, and helped launch the careers of such diverse artists as Rod Stewart, Rush, BTO, The Police, and Supertramp. When Mercury Records was absorbed into the German-Dutch giant, Polygram, Mike assumed corporate public relations duties and helped establish the PolyGram brand in the U.S. Mike left A&M to start his own management firm LAPD, (Los Angeles Personal Development) with Miles Copeland, manager of The Police and founder of IRS Records (REM, The Go Go's, Fine Young Cannibals, and others). Gormley eventually became the sole owner of LAPD. During this time, he convinced Danny Elfman, leader of the legendary band, Oingo Boingo to write the score for Tim Burton's first movie “Pee Wee's Big Adventure” spawning Elfman's mercurial climb to the top of the film composer world. Elfman, a multi-Oscar nominee is now considered one of the top five film composers in the world. "ACTIVITY BREEDS ACTIVITY” Mike Gormley - CAREER CONSULTANT, MANAGER, PR lapersdev.com Michael Frondelli - Music Producer / Mixer / Engineer / Film/TV Post / Consultant michaelfrondelli.com

Become a Patron! Help to support the show at: https://www.patreon.com/TheCommute Climbing aboard the tour bus today is a musician from a band that shot out of the gate with so much potential--but then got dropped (unceremoniously) by their label (Polygram). Guitarist from the band, Janata, Mike Lustig joins the show! An amazingly interesting chat about the way the industry works, and how so many forces have to work together to make it big. Oh, not to mention: Janata played at Stevie Ray Vaughan's last show EVER. Listen in...

Technology is an important part of everyday life. But few guests on this podcast embrace it more than Royston Da Costa. Royston, Assistant Treasurer at Ferguson Group, makes his second appearance on The Treasury Career Corner. He explains his roots in merchant banking, gives advice on using technology in treasury and explains how his work has changed since COVID. For a link to his 2019 appearance, click here. Royston joined Wolseley, now Ferguson Group, in April 2002, and managed the group's daily debt and cash requirements. In 2010, Royston drove the automation of treasury processes at Ferguson, leading to the implementation of their current treasury management system, a cloud-based solution by Coupa. He was promoted to Assistant Group Treasurer in 2016, and made responsible for the middle office, and in November 2019 assumed responsibility for the Front Office. He continues to drive forward the group's strategy on treasury technology. Royston previously worked at Sky, Gillette, PolyGram, Seagram, and Vivendi Universal. On the podcast we discussed… Royston's career updates Tech advancements since his last appearance What technology treasurers should look out for Adapting post-pandemic Why ESG is an important focus Making time for innovation Why young treasurers should stay open-minded You can connect with Royston on LinkedIn.Are you interested in pursuing a career within Treasury? Whether you've recently graduated, or you want to search for new job opportunities to help develop your treasury career, The Treasury Recruitment Company can help you in your search for the perfect job. Find out more here. Or, send us your CV and let us help you in your next career move! If you're enjoying the show please rate and review us on whatever podcast app you listen to us on, for Apple Podcasts click here! If you're interested in learning more about the fundamental pillars of treasury, download my free Corporate Treasury eBook by clicking here!

“This is the worst handwriting I've ever seen” is a pretty common refrain this week's guest has heard throughout his career in the music business. His standard reply was “Are you hiring me for my handwriting or are you hiring me for my music knowledge?” After you listen to this episode, you'll agree that Carl Michelakos was continually hired for his dizzyingly precise music expertise. His recall of songs, artists, dates and chart positions is downright academic.Carl started with Tower Records in 1968, but was shopping in the record department of Tower Drug Store in 1957. Though he always bought 45 rpm singles at other stores around town (“If I could afford it, I bought it"), on his first visit to Tower he bought Elvis Presley's debut album, his first purchase of an LP. He got the job at Tower after spending a year meeting weekly with KXOA DJ Tony King. King was recording Carl's extensive 45 collection to have a better playlist than the other radio stations in town. Tony King told him he had an interview with Rick Briare at 16th & Broadway in Sacramento because “You belong in the music business”.Seven years with Tower, Carl considered himself a “lifer”. Until an opportunity he had been promised was pulled at the last minute. Shortly thereafter MCA Records came calling. Carl spent 25 years with MCA first servicing all the Tower stores in Northern California where they let him write his own orders. Gigs and promotions in Denver and Atlanta followed.After MCA and Polygram merged, Carl got a call from Stan Goman and Mark Viducich, telling him “We want you to come back home”. Soon after Carl returned to Bayside, the Tower-owned distribution company. Carl headed up Bayside Special Products and later worked on cultivating outside accounts to grow Bayside's business until the end in 2006.Carl also talks to us about the genius of Russ Solomon, having Stan Goman work for him on assignment for a short while, using his position & influence as Singles Buyer to manipulate the charts, the “Dutch Boy” who kept asking him for a job and why Ral Donner (who?) was his favorite rock & roll act of all time. Throughout you will be amazed at Carl's recall of names, dates, chart positions, song titles and the many people he hired and fired.

The extraterrestrial comedy podcast where we probe the Calvine UFO. This allegedly extraterrestrial incident resulted in the most amazing photo of a UFO presently known (at time of recording in 2023). The witnesses to this amazing event dived in to a bush. If you saw what may be aliens, would you dive in to the bush? What the witnesses actually saw was a diamond, structured craft in the sky being circled by Air Force jets and being in the bush allowed the witnesses to take a sneaky photograph. What happened to the witnesses who took the photo though? We take a gander at that photo and come up with our own theories as to what the craft is aka go over the common theories - military, or aliens? Can we believe that our military have this kind of technology, with instant acceleration to Mach 5 and higher, without suffering the effects of G-force, crazy technology, yet haven't used this for nefarious world-conquering purposes?  We have a lot of evidence for this one but we're still none the wiser. Hi Dave. All that and more on this week's file.     Patreon: https://www.patreon.com/butitwasaliens   Store: https://butitwasaliens.co.uk/shop/     Probe us: Email: butitwasaliens@gmail.com Instagram @ ButItWasAliensPodcast Twitter @ ButItWasAliens Facebook: @ ButItWasAliens - join Extraterrestrial Towers     Music:  Music created via Garageband. Additional music via: https://freepd.com - thank you most kindly good people. In discussing Indiana Jones (the storage facility), the theme song aka The Raiders March from the Indiana Jones franchise played in the background. This was composed and conducted via John Williams and courtesy of Polygram, Sony Music and Colombia Records. As often but not always, towards the end of the episode we played the Staff Roll aka credits theme from 1990-1992's Super Mario World on the Super Nintendo Entertainment System (SNES), composed by Nintendo's legendary Hero of Sound, Koji Kondo.     Sources: Nick Pope write up and link to further sources: http://nickpope.net/wpte19/the-calvine-ufo/    Vocal Media Earth: https://vocal.media/earth/the-calvine-photo-the-world-s-clearest-ufo-photograph-has-been-found-after-it-went-missing-for-32-years    Journal News Online: https://journalnews.com.ph/the-calvine-photo-revealed-updated/    Dr David Clarke write up: https://drdavidclarke.co.uk/secret-files/the-calvine-ufo-photographs/

On Jan. 14, 2023, the Music Center (link is external)in Los Angeles had a celebration concert to honor Jerry Moss. Many artists participated, and today's Listening Lyrics  plays some of their music. In 1960, Moss moved from New York to Los Angeles, where he teamed up with Herb Alpert,(link is external) forming Carnival Records in 1962 and running the company from an office in Alpert's garage. Discovering that the name was already taken, they dubbed their new company A&M Records. In 1987, Moss and Alpert sold A&M to PolyGram Records for a reported $500 million. Both continued to manage the label until 1993, when they left because of frustrations with PolyGram's constant pressure to force the label to fit into its corporate culture. In 1998, Alpert and Moss sued PolyGram for breach of the integrity clause, eventually settling for an additional $200 million.

Howard Paar is an award winning music supervisor who is originally from London who continued his career in Los Angeles thanks Sir Freddie Laker's legendary Laker Airways. He has won The Guild Of Music Supervisors Awards in 2016, 2017, 2018 & 2020 respectively for Diary Of A Teenage Girl, 20th Century Women, Before I Fall and Native Son. Howard first worked in LA as a club creator/DJ/promoter. His work back then was known for developing emergent new music scenes particularly ska, mod  and the paisley underground. His club, The O.N .Klub in collaboration with Sugarhill Records, was also the first locale to play a rap show in Los Angeles. Howard subsequently became an independent publicist representing clients including MTV, Ian Hunter & Mick Ronson, N.W.A., Jimmy Cliff, Eric Burdon, Jimmy Jam & Terry Lewis, Bunny Wailer and Michelle Shocked. Howard then went on to become Vice President, Media & Artist Relations at Polygram Records before transitioning to the role of Vice President, Soundtracks. In this role, he worked on many soundtracks including The Big Lebowski and Gregg Araki's Nowhere as well as creating opportunities for Polygram artists to write themes for TV shows including King Of The Hill and Ellen. In 2001, Howard was nominated for a Grammy for the soundtrack for the award-winning documentary Dogtown & Z Boys.   Along with being a music supervisor, Howard is also a novelist. Top Rankin', his punk/ska noir novel, was released in May of 2021, which follows his first novel Once Upon a Time In LA, published in 2015.

J.R. Richards is a platinum selling American rock artist. He was the lead singer and songwriter for the band Dishwalla which achieved a major US No 1 hit, several music awards, and released five albums. J.R. now is an artist entrepreneur with four solo albums who continues to develop his 30+ year career. He shares the open-minded and entrepreneurial approach which allowed him to ride the technology wave that disrupted the music industry. What learnings can help us adapt through the current period of disruption?     KEY TAKEAWAYS   [01:28] How the music industry can offer us ideas having faced earlier major technology disruption.  [04:16] J.R. writes his first song at nine and then starts studying opera techniques at 18.    [04:58] The importance of protecting and managing content creation ability as an artist.    [07:40] J.R. enters the music industry at the tail end of its traditional operating model.    [08:19] Control was signed away to get essential physical distribution on finite shelves.    [09:32] Artists mostly kept revenues from touring but events also relied on labels' power.    [10:32] The opaque economics as labels lent artists money to record, market, and distribute their albums.    [12:24] Technology disruption hits and the labels scramble to restructure as revenues drop.    [13:15] As digital music quality improves, distribution barriers disappear along with the need to be on a major label.    [14:30] Label consolidation took Dishwalla from A&M Records to Polygram to Universal to Interscope.    [16:24] A merger grounds release of Dishwalla's second album prompting them to embrace technology developments to connect with fans directly and get more control at a smaller label.    [18:15] Who actually had the rockstar lifestyle—the label executives or the rockstars?!   [19:37] The industry is in upheaval exploring revenue models in licensing deals with multiple platforms.    [21:50] A dramatic murder causes the band's label to fold and J.R. gets disillusioned.    [23:35] The band breaks up and J.R. goes solo just as digital distribution becomes mainstream.    [24:43] A massive Aha moment as J.R. gets his first ever accurate sales reports.    [26:31] How the pandemic forces JR to develop emerging opportunities as venues close.    [28:30] Why it is beneficial to check out and experiment with new options.    [29:40] J.R. pivots well creating innovative experiences for fans (helped by a talented marketer—his wife!).    [31:37] The vital importance of owning your core IP—the master of your album.    [34:35] New, tougher touring economics after many venues closed down.    [35:59] J.R. continues experimenting on YouTube, Spotify, and other platforms to engage new fans.    [36:58] A young singer has millions of views on TikTok of him singing a Dishwalla song J.R. wrote.    [37:25] J.R.'s equitable approach to collaborating with the singer.    [39:25] J.R. enjoys the collaboration process and finds more access and conversation helps.    [40:24] Inviting big fans into the song development process, J.R. agrees with one fan's suggestion.   [41:37] How scary it was to show fans behind the curtain.    [43:19] The new balance of art and business as creators have to push themselves out in front of people.    [45:22] Using data to make educated decisions, control your career, and make a living.    [46:53] How ongoing learning allows you to develop your craft and create long-term value for yourself.    [48:35] IMMEDIATE ACTION TIP: Be really open-minded and when change starts happening, instead of fighting against it, check it out and ideally embrace it because you may find it's better now than it was in the past.   [53:02] J.R. Richards sings!      RESOURCES   J.R.Richards website J.R.'s Shop J.R. on Facebook J.R. on TikTok J.R. on Instagram J.R. on Patreon J.R.on YouTube J.R.on Spotify   QUOTES    “It was the nineties, you had to sign a deal with a big label if you want to make it big.”   “It always felt like the executives running the label had more of the rockstar lifestyle and personality than the actual rock stars on the label!”   “It is terrifying because you are showing them [fans] behind the curtain. But you also realize how much people really appreciate that and it doesn't diminish the way they look at you as an artist, it actually increases their appreciation for what you do.”   “I think the hardest thing is for the artist to put monetary value to what they do and push themselves out in front of people in hope that someone will buy what they've created.”   “You can get all that information and you can make some really educated decisions about where you focus your time and your energy and you can make a massive career out of it.”

Nick Gatfield is a British Music Executive, Investor and Entrepreneur. He is the Founder of Twin Music. He was the CEO/Chair at Sony Music and has held President positions at EMI and Polygram records. Nick, who was born in Surrey, shares his story from starting off a musician. He was part of the band Dexy's Midnight Runners who had the number one hit “Come on Aileen”. Nick reflects on the reality and lifestyle of a touring artist, the cash he made and the story of flying Concord to New York as 22 year old “kid”. Nick left the performance world and joined EMI records. He rapidly became their youngest ever Director and became Head of A&R (Artists and Repertoire). After a trip to Los Angeles, Nick was given the task to start his own label under Polygram/Polydor - Atlas Records before becoming President at Universal Music Group. In 2001, he was hired by Universal Music Group where he oversaw a complete revamp of the label through signings including Amy Winehouse, Keane, Busted and Sugababes. In 2008, he rejoined EMI as President of New Music and under his leadership they signed Swedish House Mafia, Deadmau5, Tinie Tempah and Emile Sande. He served as Chair/CEO of Sony Music UK in 2011 and reflects on why he shouldn't have taken the role and the factors he wish he considered before saying “yes” to the money even though he signed One Direction. We touch on: What it was like to negotiate with Prince Meeting David Bowie Signing Amy Winehouse, One Direction, Radiohead, Sugababes, Busted and Keane Why Musician's are start-up businesses What does a “record deal” look like for an Artist and how the deal is split What effect Spotify has had on the music industry Why Nick think's the wellbeing of an artist is on the label and Nick's thoughts on the Grime scene! — Buy me a Coffee: buymeacoffee.com/Dbyd Extra Stuff: ME:Reach out to me on: Instagram: https://www.instagram.com/developmentbydavid/ LinkedIn: https://www.instagram.com/developmentbydavid/ The Development by David Podcast on: Spotify: https://open.spotify.com/show/6DV9tUfz5nGCmH0bfZUFrM *Apple Podcasts: https://podcasts.apple.com/gb/podcast/the-development-by-david-podcast/id1542740010**

In this episode we welcome legendary Island Records founder Chris Blackwell and invite him to reminisce about key moments in his career at the helm of one of the UK's great independent labels.Chris describes his youth in Jamaica, his early exposure to Kingston's sound systems, and his move back to England in 1962. From Millie's 1964 smash 'My Boy Lollipop' to Island's expansion from ska and blue beat into rock and folk, the Harrow-educated mogul reflects on the vital importance of artists such as Steve Winwood, Free, John Martyn and of course the Wailers, the band that made roots reggae a global phenomenon. Clips from a 1988 audio interview with Bunny Wailer prompt reflections on the "Blackheart Man" and his role within the group. A discussion of the Compass Point studio Chris built in the Bahamas takes us to the Island reinvention of Grace Jones and the stunning early '80s albums she made there with the immortal rhythm section of Sly Dunbar & Robbie Shakespeare.References to the week's featured writer Rob Partridge — Island's head of press from 1977 to 1991 — leads to recall of the label's biggest act, U2, and the eventual sale of Island to Polygram... not forgetting Chris' signing of the singular Tom Waits in 1983.Many thanks to special guest Chris Blackwell, whose autobiography The Islander is published by Nine Eight Books and available now.Pieces discussed: Maureen Cleave on Ska and Blue Beat, Chris Blackwell in conversation with Richard Green, Richard Williams on Island Records, David Toop on the sale of Island Records, Rob Partridge on Free, Rob Partridge on Reggae and Bunny Wailer in conversation with Mark Sinker (audio).

In this episode we welcome legendary Island Records founder Chris Blackwell and invite him to reminisce about key moments in his career at the helm of one of the UK's great independent labels.Chris describes his youth in Jamaica, his early exposure to Kingston's sound systems, and his move back to England in 1962. From Millie's 1964 smash 'My Boy Lollipop' to Island's expansion from ska and blue beat into rock and folk, the Harrow-educated mogul reflects on the vital importance of artists such as Steve Winwood, Free, John Martyn and of course the Wailers, the band that made roots reggae a global phenomenon. Clips from a 1988 audio interview with Bunny Wailer prompt reflections on the "Blackheart Man" and his role within the group. A discussion of the Compass Point studio Chris built in the Bahamas takes us to the Island reinvention of Grace Jones and the stunning early '80s albums she made there with the immortal rhythm section of Sly Dunbar & Robbie Shakespeare.References to the week's featured writer Rob Partridge — Island's head of press from 1977 to 1991 — leads to recall of the label's biggest act, U2, and the eventual sale of Island to Polygram... not forgetting Chris' signing of the singular Tom Waits in 1983.Many thanks to special guest Chris Blackwell, whose autobiography The Islander is published by Nine Eight Books and available now.Pieces discussed: Maureen Cleave on Ska and Blue Beat, Chris Blackwell in conversation with Richard Green, Richard Williams on Island Records, David Toop on the sale of Island Records, Rob Partridge on Free, Rob Partridge on Reggae and Bunny Wailer in conversation with Mark Sinker (audio).

Phillip Rosen received a B.A. in Economics from Vassar College in 1980, and a J.D. from Stanford Law School, Phillip launched his career as an attorney for PolyGram's music division, where he negotiated and drafted music publishing agreements and handled copyright matters. He subsequently spent five years at RCA, as Business Affairs Manager and Director of Program and Talent Negotiations, working in the arenas of pay, cable and syndicated television. Entering the Los Angeles market as Vice President of Business Affairs and Legal Affairs for New Line Cinema in 1989, Phillip ascended to Senior Vice President of Business and Legal Affairs. During his seven-year tenure he was responsible for business affairs and legal duties for over fifty motion pictures including the Nightmare on Elm Street and House Party series, as well as the Jim Carrey comedy The Mask and the Brad Pitt thriller Seven. From 1997 to 1999, Phillip was a partner in charge of the motion picture and television department in the Beverly Hills office of Baker and Hostetler, LLP. Phillip is currently a principal of Rosen Law Group, representing producers, writers, directors, television production companies, film production companies, talent and distributors in a transactional capacity. Over his career Phillip has taught entertainment law courses at UCLA, Hastings Law School as well as the Entertainment Law Capstone course at Southwestern Law School. Phillip is a member of the New York and California Bar Associations. https://www.rosenlawgrp.com/ Connect with your host Kaia Alexander: https://entertainmentbusinessleague.com/ https://twitter.com/thisiskaia Produced by Stuart W. Volkow P.G.A.

This week we are spitting fact and picking bogeys with our Patron's choice for August 1991's Drop Dead Fred. We're learning about imaginary friends, House Boats and why Pheobe Cates doesn't make films anymore. --- Fancy picking our episodes for us? How about a shoutout each week? Extra bonus episodes? Join us for just One of your British Pounds Stirilng at https://www.patreon.com/100thingsfilm  --- Drop Dead Fred is a 1991 black comedy fantasy film directed by Ate de Jong, produced by PolyGram and Working Title Films and released and distributed by New Line Cinema, starring Phoebe Cates as a young woman named Elizabeth Cronin and Rik Mayall as her imaginary friend Drop Dead Fred, with Carrie Fisher, Ron Eldard, Tim Matheson, and Bridget Fonda in supporting roles. The film follows Elizabeth as she is haunted by Fred in adulthood.

Dicen que Andy Wood dijo alguna vez sobre la escena grunge en Seattle: "Solíamos ser músicos que coqueteaban con las drogas, ahora somos drogadictos que coquetean con la música". Green River de Jeff Ament y Stone Gossard y Malfunkshun de Wood se terminan para darle espacio a Mother Love Bone. Fue la primera banda de la zona en ser cortejada por varias compañias multinacionales. Incluso Tom Zutaut, que venía de contratar a Mötley Crüe y Guns N Roses los sedujo para ir a Geffen; pero fue rechazado. La banda eligió a Polygram para la edición del que, en definitiva, sería un disco póstumo: Apple. El fin se acercaba antes de arrancar. Con Gustavo Olmedo.

The extraterrestrial comedy podcast where we probe the Rhodope Skull. Kev shares his non-podcast experiences as famed archaeologist Indiana Greybeard, as Kev introduces us to the tale of a skull of an allegedly unexplained origin. Aliens? Predator? Aliens Vs Predator? Indiana Jones and the Kingdom of the Crystal Skull? Is life imitating art here as this Bulgarian mystery is explored? There is a lot of evidence in this episode as the origin of this skull is debated. Moonwalker has all sorts of ideas on what the skull could be made of, though Moonwalker may miss the one idea hiding in plain sight (that the skull is made of skull). Is skullduggery afoot? Is Danny Glover real? It's pondered as to whether this skull is a remnant of the Atlanteans of Atlantis and their genetic experimentation (an outside theory on the Rhodope Skull). When you think about it, that Atlantis theory isn't too far from the concept of Predators altering DNA to create the ultimate species and now that we mention it, this skull does kind of look like a… If that theory isn't accurate, could this one actually be explained by secret military activity, or even Nazi military activity? Or land-octopuses? If only we could just get our hands on this skull and undertake some DNA analysis oh wait, somebody did. But just when answers were about to be reached, things became even more mysterious. Can the answers be found in what remains? Take a leap of faith with the probers as we cover all that and more on this week's file.     Patreon: https://www.patreon.com/butitwasaliens   Store: https://butitwasaliens.co.uk/shop/     Probe us: Email: butitwasaliens@gmail.com Instagram @ ButItWasAliensPodcast Twitter @ ButItWasAliens Facebook: @ ButItWasAliens - join Extraterrestrial Towers     Music:  Music created via Garageband. Additional music via: https://freepd.com - thank you most kindly good people. This episode was somewhat inspired by/parodying Indiana Jones and so of course the theme song aka The Raiders March had to be included, composed and conducted via legendary John Williams and courtesy of Polygram, Sony Music and Colombia Records. Hopefully the creators enjoy the shoutout rather than targeting us like the MiB's. There was also a snippet, as is often the case when visions are discussed, of the Fortune Telling House Theme from the The Legend of Zelda: A Link to the Past. This is one of Kev's favourite themes to include with the game having originally been released on the Super Nintendo Entertainment System aka SNES in 1991 (Japan) and 1992 (North America and the United Kingdom/Europe). The music was composed by the legendary Kōji Kondō. Kōji Kondō also composed the very brief treasure sound effect which played when the Rhodope Skull was first discovered, courtesy of 1998's The Legend of Zelda: Ocarina of Time. When discussing the skulls resemblance to Davy Jones from the Pirates of the Caribbean franchise, there was a section of the ‘Shipwrecks' theme from Sea Of Thieves courtesy of Rare and Microsoft and composed by musical genius, Robin Beanland.     Article containing many photos of the skull: http://www.soul-guidance.com/houseofthesun/dp09/dp09bulgarian.html

The No.1 record on the greatest grunge album list, Nirvana Nevermind, turns 30. And as a very special bonus ep Bakko talks with music industry titan and Nirvana manager Danny Goldberg. Danny shares some stories of his background in the music industry, working with Led Zeppelin, how he ended up managing Nirvana. Thoughts on who Kurt was vs. the public perception. Courtney Love driving a divide with people working for the band. Expectations for Nevermind upon release. That record opening doors for all things Seattle. Becoming a confidant of Kurt's. Band tensions prior to his death and so much more.Official Nirvana Website: Complete Discography, Videos and moreCobras & Fire is part of the Pantheon Podcast Network, THE spot for the musically obsessed.pantheonpodcasts.comDanny Goldberg, President of Gold Village Entertainment, has worked in the music business as a personal manager, record company President, public relations man and journalist since the late 1960s. Gold Village Entertainment was formed in July 2007 and marks the return to artist management for Goldberg. A complete roster of artists can be found here. His latest book is “Serving The Servant: Remembering Kurt Cobain” (Ecco, April 2019). Goldberg's previous books include, “How The Left Lost Teen Spirit”, “Bumping Into Geniuses: My Life Inside The Rock and Roll Business” and “In Search of The Lost Chord: 1967 and the Hippie Idea”.From 1983-1992, Goldberg was the founder and President of Gold Mountain Entertainment, an artist management firm whose clients included Nirvana, Hole, Sonic Youth, Bonnie Raitt, The Allman Brothers, Rickie Lee Jones and more. Directly prior to the creation of Gold Village Entertainment, Goldberg had been the CEO of Air America Radio from 2005 until mid-2006. Goldberg formed the independent label Artemis Records in 1999 and ran the company until January of 2005.Prior to forming Artemis and prior to the acquisition of Polygram by Universal in 1998, Goldberg was Chairman and CEO of the Mercury Records Group, which was the number one U.S. label group in terms of market share in 1998. The Mercury Records Group included music from virtually all major genres; pop, R&B, hip-hop, country, jazz and rock and roll via its labels Def Jam, Mercury, Mercury Nashville, Motown, Verve, and Deutsche Gramophone, all of which reported to and were supervised by Goldberg. Before joining Mercury, Goldberg was Chairman and CEO of Warner Bros. Records in 1995, during which time Warner Bros. was the number one U.S. record label. In 1993-94, he was President of Atlantic Records, also a division of the Warner Music Group, which likewise attained the number one ranking among U.S. companies during Goldberg's tenure.Earlier in his career, Goldberg formed and co-owned Modern Records, which released Stevie Nicks' solo albums including her number one album “Bella Donna.” Prior to that, Goldberg was Vice-President of Led Zeppelin's Swan Song Records and worked with the band from 1973 through 1975. In 1980, Goldberg co-produced and co-directed the rock documentary feature, “No Nukes,” starring Bruce Springsteen, Bonnie Raitt, and Jackson Browne, among others. In 2004 he was the Executive Producer of the documentary about Steve Earle, “Just An American Boy.” He was Executive Producer of the multi-platinum soundtrack of music from the television series “Miami Vice” and was Music Supervisor on numerous feature films including “Dirty Dancing.”Goldberg began his career as a music journalist having written for, among others, Rolling Stone, The Village Voice, and Billboard Magazine (for whom he reviewed the Woodstock Festival in 1969).” Danny was also a consultant on the HBO series “Vinyl”. He was Chair of the American Symphony Orchestra from 2008-2013 and is on the Board of Directors of The Nation Institute, The ACLU Foundation of Southern California, Americans for Peace Now, Brave New Films, and Public Citizen.Danny Goldberg (goldve.com)

Come for the music... stay for the knowledge! Rick Beato's career has taken him on an amazing journey, from the halls of academia, to hits on the Internet. After several years of performing and producing in Atlanta, Rick developed a broad curriculum of training programs that help people of all ages learn about music. This natural inclination to teach, coupled with his extensive knowledge of music theory, led Rick to create a successful YouTube channel that delivers an entertaining mix of pop culture and education to millions of subscribers. Join Nick as he and Rick swap war stories about the early days of grunge, the ups and downs of social media, and building an audience in today's unpredictable online world. HIGHLIGHTS: [02:02] Rick explores how an old guy with white hair could create a successful YouTube channel [03:34] Right after he puts up a video, Rick will check the comments for helpful technical notes [05:16] After getting a masters in jazz, Rick took a job as an educator on a whim [06:50] Signing a publishing deal with Polygram in the early 90s allowed Rick to quit his job and become a performer and producer [08:38] Rick has created several levels of ear training programs, including Nuryl, which was developed at the time for his unborn son [11:32] Over three years Rick's YouTube video slowly and steadily built an audience, until the breakout success of his first viral video [12:38] Rick details some of his earlier videos that started getting him noticed, including his now-classic list of Top 20 acoustic guitar songs [14:25] Rick gushes over the dark yet joyous mood of Alice In Chains' "I Stay Away" and other powerful songs from the grunge era [18:14] Rick has no idea what's going to be popular, so he just creates content that he likes for his "What Makes A Song Work?" series [21:16] Creating videos for Rick's channel is incredibly time consuming, from music production to editing to asset management [22:38] Rick doesn't have a series of episodes planned out... When he gets an idea, he makes a video [24:37] Thanks to the success of his channel, Rick has gotten to interact with some amazing musicians [26:28] Rick recalls writing and recording the number one song "Carolina" with country band Parmalee [29:48] Rick keeps things simple in his videos so that people who aren't familiar with music theory can understand his lessons [30:24] Rick asks questions with his "What Makes A Song Great?" series, digging into the essence of songs that people love and become big hits   Thanks for listening! Tune in next week and don't forget to take a minute to review the podcast. In this incredibly competitive podcasting world, every piece of feedback helps. Follow our social media channels for last-minute announcements and guest reveals @theradicalpod on Instagram and Facebook.   Follow our social media channels for last-minute announcements and guest reveals @theradicalpod on Instagram and Facebook. Find out more about today's guest Rick Beato. Find out more about your host, Nick Terzo   MENTIONED IN THIS EPISODE: @Casey [Casey Neistat... YouTuber] @chriscornell @soundgarden @AliceInChains @queensryche @stevevai @stevelukather @JPetrucci @eltonofficial @BernieTaupinRP @parmalee @peterframpton @Nirvana @jethrotull @dreamtheaternet @PolygramRecords @ASCAP