Address Sony BMG
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Sony BMG Information
Sony BMG
One of the "Big Four" record labels that account for 80% of world recorded music sales market, Sony BMG Music Entertainment was created in 2004 as a 50-50 venture between Sony Music Entertainment and Bertelsmann Music Group (BMG).
Sony BMG's impressive assortment of record labels includes Arista Records, Burgundy Records, Columbia Records, Epic Records, Jive Records, LaFace Records, Legacy Recordings and RCA Records.
Before the merger with BMG, Sony's musical heritage was rooted in the history of the American company Columbia- a record label renowned for its pioneering developments in music and technology ever since the arrival of the first gramophones in the late 1800s.
Columbia were pioneers in the manufacture of pre-disc cylinder recordings, introduced mass production of double sided disc records in 1908 and in 1948, introduced the format that would revolutionise the industry and become the standard for a quarter of a century, the 33 1/3 rpm LP.
In 1938 the label was bought out by Columbia Broadcasting System (CBS), a company originally founded by Columbia. In 1953, Columbia launched a new label, Epic Records, which in little under ten years would earn its first gold records and develop into a fearsome hit-making force in Rock, Pop, R&B, and Country that would go on to prosper throughout the '70s, '80s and '90s.
The 60s and '70s meanwhile saw great advances for its parent company, CBS Records. The company founded its own direct mail order club, Columbia House Company, which still survives today as a joint venture with Time-Warner Inc. and is the largest direct marketer of pre-recorded music and videos in the world. 1968 saw CBS first join forces with the Sony Corporation. Their CBS/Sony imprint was created for the purpose of marketing CBS product alongside domestic Japanese product in Japan, Macao and Hong Kong.
By 1978, worldwide sales for CBS Records had reached $1.2 billion, the first American record company to cross the billion-dollar threshold.
Columbia's legacy of technological innovation continued with the appearance of Sony's Compact Disc, which CBS helped introduce into the market in 1982. At the same time, CBS Records were to be a key player in establishing music video as the new promotional tool.
In January, 1988, Sony Corporation acquired the CBS Records Group and three years later marked their entry into the music market by renaming themselves Sony Music Entertainment.
Bertelsmann is one of Germany's major historic companies with roots stretching out over 170 years. BMG (Bertelsmann Music Group), one of the six divisions of Bertelsmann, was established in 1987 to combine the music label activities of Bertelsmann.
On July 20, 2004, the 'Big Five' record labels that dominate the world music marketplace became the 'Big Four' as Sony Music Entertainment merged with BMG. The new company was accordingly named Sony BMG Music Entertainment.
Haydn Mullineux, 2006
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Interviews with A&Rs at Sony BMG
Interview - Dino Delvaille, Senior VP of A&R at Sony Urban Music in New York - Mar 1, 2004
"Some people spend too much time on the packaging and not enough on the music."
Dino Delvaille is Senior VP of A&R at Sony Urban Music in New York. The artists he represents include Lil' Flip (US platinum), Xzibit (US platinum) and Three 6 Mafia (US platinum).
Previously, he worked at Universal, where he was responsible for signing and working with the seminal New Orleans label Cash Money Records, whose artists include Juvenile (US multi-platinum), Hot Boys (US platinum) and Big Tymers (US platinum).
How did you get started in the music business and become an A&R?
I was a DJ on college radio and at parties. I had a passion for music. When I graduated, I went into college promotion and that gave me a knack for attracting talented artists, which helped me become an A&R.
What experiences have helped develop your A&R skills?
One of the most important things was that I travelled a lot: the East Coast, the South, the Midwest, and I saw that, in those areas, people were crying out for artists who sounded and looked like them. That was a very important learning experience for me and that led me to sign some of the first breakthrough Southern and Midwestern acts and to continue to look for and sign artists who are both unique and representative of people who lack a voice in popular hip-hop music today.
What motivated your decision to move from Universal to Sony?
I was a veteran at Universal, and there are not a lot of veterans at record companies. People tend to change companies every two to three years, but I had a great relationship with Universal and I still do. I was there for nine years, from the beginning when there were ten people working there. Sony came to me with an opportunity that I would have been foolish not to take.
In some ways, it will be different for me here, because the politics of this company differ considerably from Universal's. I've taken a few months to adjust to their needs and demands but, in the end, Universal and Sony are the same type of beast—they want hit records.
What did your relationship with Cash Money involve?
I was responsible for signing the company and then moving it forward. My responsibilities were helping them to pick out singles and helping them to expand by making records with different artists. When they first came into the business, they were very reluctant to make records with other people. They probably felt that people would steal their style or flavour, and I had to work hard to get them to open up to making records with Cam’ron, Puffy, and Clipse, among others.
What acts are you currently working on?
I'm currently working on ; we're just finishing his album now and his single, “Game Over” (click on artist or song names to listen to Real Audio files – Ed.), which is inspired by video games such as Pac Man and others, in addition to Lil' Flip's love of sports, is exploding on radio. We're also laying down the foundations for Xzibit’s new album.
I'm also working with a clever and gifted rap artist named Grafh out of Queens, New York; the very lively Atlanta rapper Baby D, whom we are currently working on and accepting songs for; Hypnotize Minds; Three 6 Mafia; and I have just signed Holla Point, a new rap trio from Mississippi. They are the kings of really catchy hooks, very melodic and aggressive, and I love that about their music.
What kind of buzz makes you sit up and take note?
Word of mouth is best. If more than a few people are telling you that someone is hot, that's something worth pursuing. Also, just being on the road means that you can absorb the mood and desires of the people out there. About two months ago, we were in Nashville, and we pulled up to the University of Tennessee, in a nondescript economy car, and asked people who was the hottest rapper, artist and musician out there. Nine out of ten people said the same artist, and he's unsigned: Yo Gotti. Without question, he is heating up the rap game from his hometown of Memphis, Tennessee.
Do you accept unsolicited material?
... to read the continuation of this article, click here.
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Interview – Clay Bradley, A&R Sony Music Nashville - May 8, 2006
“I just signed Cole Degges after seeing him play at Tootsie’s,”
… says Clay Bradley, A&R at Sony Music Nashville, explaining which clubs he visits to scout for new talent. Clay has breakthrough credits for signing Gretchen Wilson (US No.1) and Josh Turner, and was awarded No.11 on the World Top 100 A&R Chart 2004.
In the interview, Clay confirms that Nashville remains the epicenter of country music and explains what makes him go to a club to listen to unsigned artists. He reveals in what ways artists should prepare, what they should feature on their websites, what the latest media scam was by an unsigned band who attracted the major labels and how come Clay signed a new artist after having watched him at a club, even though the show was “not very good”.
Included in the article: HitQuarters also lists contact information and submission guidelines to the clubs mentioned by Clay.
Historically, Nashville has been the capital of Country & Western music – is that still the case?
Nashville is still the epicenter of country music because the infrastructure is here - record labels, publishers, performing rights organizations, all the musicians and songwriters, and probably most importantly, the outlets to the radio, the commercial companies, and the commercial companies servicing the radio.
In terms of getting a record deal, how important is it for an aspiring Country artist to play shows in Nashville?
Well, it is important to some extent, but there are a thousand ways to skin a cat, or to get a record deal. Spreading your name is important anywhere – it’s important in Nashville, but it’s just as important in Atlanta. If you want to come to Nashville it will just make the process much easier for you. You have to understand that Nashville is a very unique community, and everybody out here will support you.
Do you still go to clubs scouting for new talent?
I go out to clubs 3-4 nights a week. I’ll go see anybody, anytime – that’s what I do. I’m at showcases Monday through Thursday, and I get my sleep on the weekends.
What venues in Nashville do you go to regularly?
I go to Douglas’ Corner, Tootsie’s down on Broadway… there’s a great little club downtown called Roberts’, and of course the world renowned Bluebird Café. There’s a circuit of clubs that all the artists and songwriters play at, and I go to all of them.
How would an unsigned artist go about getting shows at these venues?
I think it’s pretty easy. You’d have to network, meet people, go to the club personally, meet the owner, and play a few songs.
Who was the most recent artist that you signed after seeing a live performance?
I just signed Cole Degges, a guitar/vocal work type. I actually signed him after seeing him play at Tootsie’s.
What was it about Cole specifically that made you interested in him as a potential signing?
When I look for singers I look for something that’s not vanilla, and there is a lot of vanilla out there. This guy had a unique sound in his voice, good styling, and lots of character.
You signed him after the live show – what was it about the performance that made an impression on you?
To be honest with you, the show was not very good, but I saw potential in the guy and we spent a lot of time developing him. Usually what is really important in getting a deal is the material you have, the actual songs, but in Cole’s case it was the opposite – it was his voice, and the way he carried himself. We spent a year working on the material with him, finding songs that fit him, and really developing the material to suit his voice.
When you go to live shows, what is it that you look for in the performance?
First of all, before anyone decides to play for me, they better have at least a hundred dates under their belt. I suggest you play your best material early because it’s really about the first two songs. And I think if you’re showcasing for a record label, you need to do it all – have some uptempos, and definitely sing at least one ballad. The connection with the audience is important; that’s what separates the chaff from the grain for me.
Should an artist bring their demo to the showcase?
... to read the continuation of this article, click here.
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Interview - Anthony Marciano, A&R at Sony BMG France - Sep 5, 2005
“Amel already understood many aspects of the music business that other artists have a hard time grasping. That made it a lot easier for us to work with her on her first record compared to other debutantes,”
…says Anthony Marciano, A&R at Sony BMG France. He is credited for signing and breaking soul/R&B singer Amel Bent (No.1 France) and Lââm (Top 5 France) and taking care of the artists from the French version of Pop Idol.
Read about how much it costs to produce an album in France, why he signed Amel Bent and how he found songs for her and what the disadvantages and advantages are when releasing an artist known from Pop Idol.
How did you get started in the music business and how did you become an A&R?
I’ve always worked with artists in the music business and always worked, directly or indirectly, with record companies. First I managed artists, helping them stage small gigs and bringing them to record companies for evaluation by the A&Rs.
Then at the end of 1999 I started an internship at BMG. When the internship ended they hired me as a junior A&R because they wanted the label to grow. Later on when the company got a new team of directors I became senior A&R.
In the very beginning, were you an artist yourself?
Yes, I was a guitar player, and when I was around fifteen I had my own band. I play a few other instruments too. That’s why I like to discuss music with artists, because when a chord doesn’t fit I can suggest something else for them to try.
As an A&R, I guess you have to know a bit about music and technology. I see a lot of people in production who don’t know how to use ProTools or a MIDI keyboard, and don’t know how to set up the computer for a session. I think it’s really important to know these kinds of things.
What experiences have helped to develop your skills as an A&R?
The most important thing has been always being in contact with artists, whether they’re signed to the label or unsigned artists bringing in new projects. That way you stay close to what’s happening and you always keep up with the trends.
What artists are you currently involved with?
Amel Bent, and a new band that I signed called Omni, which is going to be released next year. I also take care of the artists from the French version of Pop Idol called La Nouvelle Star, and right now I’m working with Pierrick, who comes from the latest edition of that show. In addition to that I also work with Willy Denzey, who is a big r&b singer in France, and with Lââm, a popsinger.
How did you first learn about Amel Bent?
Amel was a contestant in Nouvelle Star. She was knocked out in the semi-finals though, so we didn’t have to sign her, but we decided to go for it because she has a wonderful voice and and there’s something very humane about her that simply made her an artist we wanted to work with.
So we signed her, and we really took the time to make her album exactly what we wanted it to be. As she didn’t win Nouvelle Star, we didn’t have a deadline, and that afforded us the time needed to work on the album, which was about a year in the making.
Which artists from the show are Sony BMG obliged to release?
We release the winner, that’s the only contractual obligation we have. But we always sign one or two more artists from the show, because usually you find great performers. This year we signed the two finalists and last year we signed the winner and Amel, who finished fourth.
Were there other record companies offering to sign Amel?
Not that I can think of.
Why do you think Amel decided to sign with Sony BMG?
... to read the continuation of this article, click here.
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Interview - Nick Raphael, senior vice-president of A&R, May 23, 2005
“This is the most exciting time in the ten years that I’ve been on the record company side of the music business! There have never been more opportunities to break artists, and for people to hear new music.
This is the moment when we should all be excited. When we look back on it in ten years time from now we’ll say, ‘God, we were part of the whole change‘,”
… says Nick Raphael, senior vice-president of A&R at Sony Music UK. His breakthrough credits include G4 (No.1 UK), Lemar (Top 10 UK) and Big Brovaz (Top 10 UK). He has been awarded No.19 on the World Top 20 A&R Chart and No.44 on the World Top 100 A&R Chart of 2003.
Read about the success story of G4, the continued rise of the Adult Pop genre, his view on the Sony/BMG merger and what advice he would give unsigned acts.
How did you get started in the music business and how did you become an A&R?
I ran nightclubs and DJ-ed at the age of 16. By the time I was 20 my nightclub business had become very successful. A guy who did marketing for London Records (which at the time was part of Polygram) approached me, and I started doing marketing at Polygram. After that I did A&R in the dance music area, and I signed loads of Top10 records.
After that I left Polygram to start a record label with Christian Tattersfield - who was also an A&R - called Northwestside Records, and we had a label deal with BMG. We signed Jay-Z for the world - BMG’s US partners passed on the US rights! - and we signed a bunch of other stuff that was successful; platinum albums and singles and stuff.
Christian then left to run East West, and I first became head of A&R at Arista, and then managing director of Epic.
What experiences have helped develop your skills as an A&R?
Firstly, meeting the best recording artist I’ve worked with – namely, Jay-Z. Not only was he a brilliant recording artist, he was also a very bright business person. The way he and his manager Damon Dash ran their business and their label was very logical.
Secondly, the opportunity given to me by Tracy Bennett and Roger Ames when I worked at London Records to learn the record business from them.
Thirdly, being a professional DJ, because you understand what the public likes and what makes the dancefloor busy, which is a really interesting experience.
I’d also say watching the best A&R people in the world, like Clive Davis, do their thing. At Arista I had the opportunity to work with him, and it was interesting to hear his philosophy, and very insightful seeing how records are made by the guys who are the best in the business.
Most recently it has been working closely with David Massey and Muff Winwood, two exceptional A&R talents.
How has the Sony BMG merger affected the A&R work?
So far, it’s been nothing but beneficial. For the A&R people who work within this new system there are a lot more opportunities to be successful as a result of the merger. For an A&R person who works here and for an artist who is signed to us it can only be a benefit, provided that you have the right material.
If you have the wrong material, then crap records are crap records under any system. But a hit record in the right system could be even bigger with the right team pushing it.
What artists are you currently involved with?
Former soprano singer Charlotte Church, who has just recorded her first album with contemporary music; G4, who recently released their album; Lemar, who is a solo black male R&B singer and whose second album has reached double platinum in the UK. By the end of the year we hope to have sold a million units and we aim to break him in Europe as well. His first album also surpassed 500,000 copies.
The last one is an act called Mylo, which is underground, electronic music. The album “Destroy Rock & Roll” was the critics’ choice last year and it has now sold over a 100,000 records, and we’re trying to get it to 3-500,000 records in the UK.
How did you first learn about G4?
They were on a national TV show called X Factor, which is a talent search similar to Pop Idol. They were the runners up and as a result the option to sign them was not picked up by the judge, Simon Cowell, and we decided that we would pursue the band because we felt that they were the best act on the show.
Did Sony have a deal with X Factor that you would release artists from the show?
BMG had a deal with X Factor, and as we were going through the merger at the time, we approached the band through BMG with the view that we thought that we could offer them a recording contract, because the TV show stipulated that only the winner would get a deal.
The rules of the show said that they were free to go if they didn’t win, and so we chose to pursue them as we felt that not winning the show was not a reason not to sign them. In fact, it was probably a good reason to sign them.
Were there other record companies bidding at them?
... to read the continuation of this article, click here.
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How to benefit from HitQuarters
HitQuarters is the world's most extensive directory of A&Rs, managers, publishers and producers, based on their track records. We also publish the weekly World Top 20 A&R Chart and in-depth interviews with people in the music industry. As a HitQuarters member, you can send your music to our A&R Panel, which includes several of the world's most successful A&Rs, and present it on your own web page at www.HitQuarters.com/TheNameYouChoose.
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Find the contact information to the world's most successful A&Rs, managers and producers in the HitTracker (top left of the site). You can also send your music to our A&R Panel, which includes several of the world's most successful A&Rs, and present your music and photos on your own web page.
Reading the in-depth interviews we regularly publish will provide you with a great deal of knowledge on the music industry. You can also discuss the issues that concern you with other members in the HitQuarters Forum.
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Find the contact information to the world's most successful A&Rs, managers and producers in the HitTracker (top left of the site). You can also present your music and photos on your own web page.
Reading the in-depth interviews we regularly publish will provide you with a great deal of knowledge on the music industry. You can also discuss the issues that concern you with other members in the HitQuarters Forum.
To become a HitQuarters member for only USD15 per half year, please click here. To gain a better understanding of how HitQuarters works, please read the Advisory Text.
Songwriter
If you are a songwriter, we suggest you use SongQuarters, our music publishing and songwriting service. In it we present the recording status of the world's 500 most successful artists, including who is currently looking for songs, in what style, whom to contact and their contact details. SongQuarters also features information on newly signed and developing artists who are currently looking for songs, and samples of these artists' songs.
The SongQuarters membership includes HitQuarters membership, which gives you access to in-depth interviews that will provide you with a great deal of knowledge on the music industry. You can also present your music and photos on your own web page and discuss the issues that concern you with other members in the HitQuarters Forum.
Manager
Find the contact information to the world's most successful A&Rs, managers and producers in the HitTracker (top left of the site). You can also send your music to our A&R Panel, which includes several of the world's most successful A&Rs, and present your music and photos on your own web page.
By reading the in-depth interviews we regularly publish, you can gain further knowledge of the music industry. You can also discuss the issues that concern you with other members in the HitQuarters Forum.
To become a HitQuarters member for only USD15 per half year, please click here. To gain a better understanding of how HitQuarters works, please read the Advisory Text.
A&R
If you are an A&R, find a wide range of artists presenting their music at HitQuarters: you can either search for an artist or view the artists that have previously been chosen by our A&R team as Artists Of The Week.
If you are a HitQuarters member, you will find the contact information to the world's most successful A&Rs, managers and producers in the HitTracker (top left of the site). By reading the in-depth interviews we regularly publish, you can gain further knowledge of the music industry. You can also discuss the issues that concern you with other members in the HitQuarters Forum.
To become a HitQuarters member for only USD15 per half year, please click here.
Music Publisher
If you are a music publisher, we suggest you use SongQuarters, our music publishing and songwriting service. In it we present the recording status of the world's 500 most successful artists, including who is currently looking for songs, in what style, whom to contact and their contact details. SongQuarters also features information on newly signed and developing artists who are currently looking for songs, and samples of these artists' songs.
The SongQuarters membership includes HitQuarters membership, which gives you access to in-depth interviews that will provide you with further knowledge on the music industry.
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