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Speaker 1: Danny Glass needs no introductions, Well, will give him no introduction.

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Speaker 1: So you were a DJ at regimes? How did that

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Speaker 1: come together? How do they get the job at regimes?

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Speaker 1: Start from the beginning, because some people may not even

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Speaker 1: know what regimes was. Explain regimes, so regime. It's a

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Speaker 1: Holocaust survivor who creates the most important discotheque in the

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Speaker 1: world in Paris. And from this incredibly hard upbringing, she

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Speaker 1: creates an atmosphere where the where the world comes together

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Speaker 1: of royalty wealth, jets set, truly jets set and figured

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Speaker 1: everything out of what people how they want to be

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Speaker 1: uh uh wined and dined. And the more money she charged,

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Speaker 1: the better they did at this discotheque in in in Paris.

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Speaker 1: That same set moved to your stad they would move

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Speaker 1: to today today you call him Aspen and Hampton's, but

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Speaker 1: it's a different jets set in those days. So I'm

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Speaker 1: in college at Brooklyn College and working a few jobs

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Speaker 1: and luncheonette as a short order cook, soda jerk from

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Speaker 1: my uncle. But I was deejaying and I was working

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Speaker 1: as a publisher also, And the woman who I worked

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Speaker 1: for was a very wealthy woman. She owned palisades of

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Speaker 1: amusement park and she her husband passed away. She also

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Speaker 1: wrote the theme song Palisades. Has wrote she was a

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Speaker 1: songwriter because that's what I think of. She wrote that

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Speaker 1: song Freddie Cannon and she no, no, that's two. There's

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Speaker 1: two Palisades. The commercials she wrote that's this too. She

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Speaker 1: also wrote you can trust your car with the Man

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Speaker 1: who Wears the Star. She also wrote a standard torch

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Speaker 1: song called how did He Look, which was recorded when

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Speaker 1: I was there dred and thirty times by the greatest

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Speaker 1: singers of all time. So she records this disco record

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Speaker 1: of a song that we had in our catalog, and

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Speaker 1: she says, you have to bring it two Regime's it's

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Speaker 1: opening up. And I had read about it and the

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Speaker 1: Liz Smith wrote about and a few other people. So

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Speaker 1: in between college and different things, I go to the

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Speaker 1: club and nobody is speaking English. The manager was Italian

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Speaker 1: pepo Vinini, and her sister Evelyn was there and said,

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Speaker 1: sit down, sit down. I thought, I'm just there to

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Speaker 1: meet the DJ. For some reason, they're confused. They think

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Speaker 1: I'm there to audition for the DJ. So I stayed,

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Speaker 1: I have the twelve inches with me ready, and they

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Speaker 1: bring me downstairs and the club is unbelievable. It's opening

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Speaker 1: in two days. The club and they give me meal

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Speaker 1: voucher tickets for shrafts because I'm not gonna be able

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Speaker 1: to eat with the rest of the help. I'm not

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Speaker 1: eligible yet. I haven't earned a yet to sit at

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Speaker 1: the table. I have no idea what's going on, and

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Speaker 1: I just keep going with it. Long story short, I

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Speaker 1: become the opening night DJ with Jonathan the opening night

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Speaker 1: opening night DJ with Jonah Tuck Garvalia because he has

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Speaker 1: spoke no English and I did the American music. He

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Speaker 1: did the rest of the world music, which really opened

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Speaker 1: up my ears and eyes to international music, which is

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Speaker 1: why I think Last Note is such an international label

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Speaker 1: because of really what happened at Regime's was at fifty

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Speaker 1: nine in Park. UM I never strayed from there. By

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Speaker 1: the way, my entire career has been in three blocks

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Speaker 1: of that time, whether it was Chrysalis, S P K,

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Speaker 1: Glass Note, I think my entire career has been between

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Speaker 1: sixty one and fifty ninth Street Park in Madison, and

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Speaker 1: sing Time, UM, A and M was there. But going

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Speaker 1: back to Regime's, it was a magical time each night

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Speaker 1: Grace Kelly would come. Next night, Elizabeth Taylor would come

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Speaker 1: and and I became a source of information for the

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Speaker 1: for the what in those days, you know the page

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Speaker 1: six of today. I legitimately became the source of who

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Speaker 1: was there. And I learned so much about music. And

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Speaker 1: then they'll get paid for being a source. I got

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Speaker 1: paid a lot of money to be a DJ, and

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Speaker 1: I'm still in college. I got paid money. One of

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Speaker 1: the great scenes that Regime's was she saw somebody giving

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Speaker 1: me a tip. They give me ten dollars to play

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Speaker 1: a song, and I said, I'll get to it. I'll

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Speaker 1: get to it. She took the money, she threw it.

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Speaker 1: You never ever play anything for less than a hundred hours.

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Speaker 1: This is this is the late seventies. Then I made

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Speaker 1: a cassette for fifty dollars for somebody. She took the

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Speaker 1: cassette and she threw the cassette. She said, a hundred

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Speaker 1: and fifty dollars for a cassette. I was playing the

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Speaker 1: music anyway. All it was taping is what was playing.

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Speaker 1: So I learned a lot about what how people wanted

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Speaker 1: to be treated, and then how they want. Bottle service

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Speaker 1: started there. The whole concept of bottles owning a bottle

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Speaker 1: and some of the bottles were watered down. But that's

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Speaker 1: a that's another good story. But that's um so many,

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Speaker 1: so many lessons in that getting that job. And she

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Speaker 1: was thrilled my boss and it said something about showing up.

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Speaker 1: So I stayed there for about a year, a year

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Speaker 1: and a half maybe more, and that led to another

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Speaker 1: DJ job. So but Regime's was the place. Um, it

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Speaker 1: was the suit and HiPE place, answered the studio fifty

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Speaker 1: four and very hard to get in, very very expensive.

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Speaker 1: So we went to a restaurant last fall, one of

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Speaker 1: the exclusive lunch places, and we got the best table

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Speaker 1: in the joint because you said, the major d you

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Speaker 1: knew or the owner you knew from Regimes. So the

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Speaker 1: owner was a bus boy. Really yeah, and now he

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Speaker 1: owns the coolest bistro in New York. So we go

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Speaker 1: back to those days. Yeah, and the bistro's name for

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Speaker 1: the audience, we're I'm there three or four days a

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Speaker 1: week and the Philippe created you probably read about it

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Speaker 1: because Michael Cohen is there three days a week, and

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Speaker 1: if he's not there, the other lawyer, Stormy Daniels, Michael

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Speaker 1: whatever with a v Avanati. He's there. So this is

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Speaker 1: what's going on around our block. Every single day, the

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Speaker 1: two Avanati and Cohen, they go to three restaurants. They

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Speaker 1: go to Fred's, they go to Bill Bok, and they

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Speaker 1: go to Logo Lou and they have coffee at sant Ambrose,

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Speaker 1: torturing each other every day. Okay, so you grew up

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Speaker 1: in Brooklyn. Is there music in the house in Brooklyn?

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Speaker 1: There's a lot of theater, There's a lot of films,

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Speaker 1: is a lot of soundtracks. There's w traction mean like

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Speaker 1: the original Broadway gas. My parents took us to Broadway,

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Speaker 1: went to the city, um many times a year to

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Speaker 1: see you know, West Side Story or King and I

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Speaker 1: My Fair Lady. But the West Side Story was the

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Speaker 1: first musical I ever saw and changed my life. Um,

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Speaker 1: the violence, the the you know, the Hell's Kitchen, the soundtrack.

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Speaker 1: I'd never heard a song as as beautiful as Somewhere

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Speaker 1: and I was a young boy. And then we saw

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Speaker 1: the other ones and they really worked great. And we

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Speaker 1: went to the House of Chan afterwards for Chinese food

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Speaker 1: on Sunday. Um. But it was extraordinary to go to

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Speaker 1: the city and that that was going to the city.

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Speaker 1: The only time we went to the city was the

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Speaker 1: theater um. How about when you were a teenager, would

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Speaker 1: you go into the city as we used to see

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Speaker 1: in the sixties, duck around? I only I was sixteen.

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Speaker 1: I got into college very early. Eskipped a couple of times,

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Speaker 1: and I got into college rather early. So it's sixteen.

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Speaker 1: I think I'm already a freshman or sophomore. And my

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Speaker 1: friend told me about a club on the what what

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Speaker 1: they called Lower east Side now we I don't not

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Speaker 1: sure what are you we call it in those days.

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Speaker 1: It was on First Avenue in second Street, and it

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Speaker 1: was called Club eight two. And he went and he said,

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Speaker 1: you have and you said, you have to see this.

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Speaker 1: You have to hear it. You have to see the

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Speaker 1: whole thing. I said, what happened. What happened is I

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Speaker 1: can't explain it. So I went. This was a transvesti club.

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Speaker 1: And you walk down the stairs and you see posters

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Speaker 1: of David Bowie, the Stones, Uh, David Johansson, all in drag,

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Speaker 1: and you get greeted by I didn't know it was

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Speaker 1: a woman. I thought it was I thought it was

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Speaker 1: a man. And they greet you and you had to

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Speaker 1: wear they wanted the men to wear tight pants and

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Speaker 1: high heels. And um, it wasn't a gay club. It

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Speaker 1: was a club just to have a great time. And

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Speaker 1: it was the first time I saw a guy playing

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Speaker 1: two turntables and and all I did was I just

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Speaker 1: stayed with him. I just stayed watching him. His name

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Speaker 1: was Tony Mansfield and he would come back from Paris

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Speaker 1: and from London. We got friendly, bringing these seven inch

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Speaker 1: records and playing them and he had a headphone on

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Speaker 1: one year and he was doing this back and forth

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Speaker 1: and it it made me crazy about music and about

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Speaker 1: being and watching the dance floor and those days, people

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Speaker 1: didn't care if you sat down, you got up and uh.

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Speaker 1: But that was the first time I went to the

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Speaker 1: city without my parents, and my best friend took me

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Speaker 1: to these clubs. And then these clubs gave birth to

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Speaker 1: other clubs. It was Dan and and many many clubs

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Speaker 1: we went to to hear music and it was great.

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Speaker 1: And the first time I ever saw of producers coming

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Speaker 1: to clubs. I used to go to the DJ booth.

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Speaker 1: So I became known in a few of these clubs

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Speaker 1: just a kid look like to hear music. And I

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Speaker 1: used to say that this guy Bobby at Infinity or

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Speaker 1: J Dan. I said, who's that? Who's that? This guy

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Speaker 1: produced this record? It was like Sandy linds Er, you know,

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Speaker 1: people like that, or those Bob Gordio got kind of

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Speaker 1: guys would come in to the gay clubs and play

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Speaker 1: the music. And then I saw what I guess what

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Speaker 1: major label people coming in. And then the greatest thrill

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Speaker 1: was when this very very overweight black guy came in

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Speaker 1: and it was Verry White and he wanted to hear

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Speaker 1: the records. He wanted to test the records, which is

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Speaker 1: why White. No, I didn't talk to I didn't kind

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Speaker 1: of know who he was. His voice was great. It

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Speaker 1: was a big man, and it was the it was

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Speaker 1: the Love's theme. There was no there was no there

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Speaker 1: was no vocal theme song from Love Unlimited, right, And

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Speaker 1: he had all these and every time we the D

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Speaker 1: two would places, I got more had a whole stable

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Speaker 1: because he had I think the three Degrees might have

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Speaker 1: been or what was the name of the women that's

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Speaker 1: saying I forget Love Unlimited orchestra, But he was in

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Speaker 1: Love Unlimited. So he used to go there. And I

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Speaker 1: always tell the artist that we signed a glass note

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Speaker 1: to play the music for the audience first, which is

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Speaker 1: counterintuitive to a lot of my competiti ds. With my peers,

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Speaker 1: you know, they want to keep the security. I said,

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Speaker 1: play include the audience tested, play it early. Mumford and

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Speaker 1: Son is a great example of an artist that always

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Speaker 1: plays the music early. And I remember they were playing

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Speaker 1: with you two last year and they were playing music

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Speaker 1: that I'm just hearing now being recorded. So my first

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Speaker 1: trip to Minneapolis, I saw this five ft three guy

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Speaker 1: go into the booth and you know who that was,

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Speaker 1: And he went in and tested his music. And I

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Speaker 1: went to Atlanta. The same thing happened in Atlanta. In

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Speaker 1: Miami Beach, producers would do that the t K Gang

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Speaker 1: l A, which is very late to disco and dance.

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Speaker 1: In San Francisco, you'd see Sylvester, you'd see Patrick Cowley,

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Speaker 1: you see people in in l A. The Casablanca Records

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Speaker 1: crew would come in. Okay, So when do you decide

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Speaker 1: you want to be in the music business. M hmm.

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Speaker 1: That was controversial. So I'm in college and I'm cruising

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Speaker 1: towards becoming a pediatrician. That was the Jewish thing. You're

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Speaker 1: a doctor, you already knew you're gonna be a specialized

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Speaker 1: be a pediatrician. I wanted to be a pediatrician because

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Speaker 1: I loved pediatrician. He was very nice and I wanted

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Speaker 1: to be him. So the djaying thing got to me

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Speaker 1: and working at the college radio station similar to Rob,

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Speaker 1: he did it earlier than he did it in high school,

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Speaker 1: and I got hooked. The easiest conversation with with my parents,

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Speaker 1: who are very supportive. They said, do whatever you want. Um.

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Speaker 1: The only problem with my parents was to to this

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Speaker 1: day my mother still thinks I'm a dj um and

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Speaker 1: she always say, are you going out tonight? Are you

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Speaker 1: working tonight? She still asked me that are you Are

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Speaker 1: you working tonight? Uh? But that was the easy one.

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Speaker 1: The hard one was going into the dean or student advice.

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Speaker 1: I've got what the name of the people at Brooklyn

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Speaker 1: College were to explain in my junior year that I

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Speaker 1: want to change. And I finally found a woman who

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Speaker 1: was very supportive, and she said, you've got to go

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Speaker 1: into a theater class, and you've got to take some

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Speaker 1: humanities and you've got to study Marshall McLuhan. I said,

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Speaker 1: who's that. She said, Oh, he's he's the guru he's

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Speaker 1: in charge. He's the whole, He's the whole universe of media,

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Speaker 1: communication and messaging. So I switched. Um, I gave up

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Speaker 1: stuff I loved. I love the Bunsen Burner, I love

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Speaker 1: the lab techniques, I love the emergency room of the hospital.

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Speaker 1: And I you know it was for me. It was

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Speaker 1: at Einstein or Downstate Medical Center where they was gonna

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Speaker 1: go and m but it was easy. Um. Once I

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Speaker 1: got into that groove of of doing it, then I

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Speaker 1: really I went to I went to college. I checked in.

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Speaker 1: I just went to class, but I was not there.

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Speaker 1: I physically checked out, well mentally checked that I should

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Speaker 1: say in my second half of junior year. But I

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Speaker 1: wanted to finish. I had to finish that. I owed

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Speaker 1: my parents, and I wound up. One of the things

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Speaker 1: you said to me, in which I repeat all the time.

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Speaker 1: You have the first SPK Records convention in the desert,

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Speaker 1: and you see three things you need to work at

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Speaker 1: SPK Records, And I'm not going to say them in

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Speaker 1: the order you said said, you have to really want

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Speaker 1: to work at SPK records, you have to work retail

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Speaker 1: because that's where the transaction actually happens, where people pay

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Speaker 1: their money. And you say you have to graduate from college.

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Speaker 1: And I cornered you later in the hotel and I said,

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Speaker 1: in college, have been the first thing you mentioned. I say,

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Speaker 1: you know, I went to college, okay, and I graduated.

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Speaker 1: But you know, this is business where people didn't go

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Speaker 1: to college. And you say, I said, why do you

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Speaker 1: have to go to college? You say, oh, you don't

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Speaker 1: learn anything in college, but it proves that you can

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Speaker 1: complete something. Yeah, it's some. It really bothers me. How

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Speaker 1: many people do not finish a book, a movie, a newspaper,

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Speaker 1: do not wait till the closing credits. We're in the

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Speaker 1: music industry and I'm always asking people. I called this

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Speaker 1: guy from Downtown Music recently. His name is Justin Ollifouit's

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Speaker 1: to tell him how how great he did in a

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Speaker 1: movie because I saw he licensed all these songs he was.

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Speaker 1: I think he was prize that I stayed till the credits. Um.

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Speaker 1: I think it's a really bad trade and attribute of

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Speaker 1: our business that people do not finish the job. It

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Speaker 1: takes a long long time to finish, and it's not

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Speaker 1: easy the end. The you know, I've run many many marathons,

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Speaker 1: and that last mile, that last point too. They're the hardest,

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Speaker 1: but they're the most euphoric. You've got to finish um

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Speaker 1: and it's it's it really says something to me when

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Speaker 1: people because some people say to me, oh, you know,

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Speaker 1: I didn't, I didn't. I skipped over that. I probably

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Speaker 1: wouldn't hire them. I like people that finish. So you're

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Speaker 1: in college and you get their first music business jobs

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Speaker 1: with the publishing organization. Yeah, this woman Gladys Shelley and

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Speaker 1: Harry Finn for I played this song on my show

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Speaker 1: called Wet Weekend, and I read about it in a

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Speaker 1: Record World magazine and it's said, if you need an

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Speaker 1: extra copy, called this guy. And I called him, and

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Speaker 1: my program director, who actually went on to fame in radio, said,

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Speaker 1: you should never meet your your listeners. It's a it's

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Speaker 1: a it's a mystique. I said, I'm in college, come on.

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Speaker 1: So I decided to call this guy and he said,

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Speaker 1: love to meet you. So I went to the city.

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Speaker 1: My father took me and then he said, where should

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Speaker 1: I pick you up? I just thought of the only

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Speaker 1: place I ever heard of was the Empire State Building.

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Speaker 1: I said, picked me up the Empire State Building, picked

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Speaker 1: me up in a Limo. My father said goodbye, and

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Speaker 1: I went and my life change. That night. I went

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Speaker 1: to a fifth Avenue in sixty ninth Street to a

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Speaker 1: dinner at Gladys Shelley's apartment and she offered me a job.

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Speaker 1: I went in and no one said hide him. I

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Speaker 1: just walked in and I sat at the dinner table

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Speaker 1: and the butler had given me a spoon for salt

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Speaker 1: and a spoon for pepper. I had never seen anything

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Speaker 1: like that in my life from benson Hurst, and I

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Speaker 1: noticed there were four or five to as walking around

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Speaker 1: and literally urinating everywhere on the curtains and the carpet.

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Speaker 1: What am I? It's like a Fellini movie. And there's

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Speaker 1: a guy sitting next to me, fascinating guy, and he said,

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Speaker 1: what do you do? He says, I own Metro Media.

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Speaker 1: I said, you own Channel five. Yes, William Klugey, he's

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Speaker 1: he's at the table and he loved Gladys. That's the

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Speaker 1: kind of table. So it was the salon that she

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Speaker 1: had and I started working that night for her. UM

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Speaker 1: and I was the go to publisher and all I

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Speaker 1: had to do is get artists to sing our songs

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Speaker 1: and um that was my first job. Okay, and then

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Speaker 1: you're working as a DJ. You say you look leave

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Speaker 1: Regimes to go to another club. What was the motivation there?

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Speaker 1: This guy, the six ft five, great looking guy comes

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Speaker 1: up to me and says, Dan, because I'm usually Danny,

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Speaker 1: never Daniel, Dan, I need to have lunch with you.

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Speaker 1: Come to my office. Gives me his card and it

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Speaker 1: said Revalon. His name is Frank Shields, his Brookshields father.

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Speaker 1: So I go see Frank the next day and this

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Speaker 1: is like super wasp again. Never met a guy like

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Speaker 1: him before. And he's the number two or three at Revlon.

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Speaker 1: I met Charles Revson, who's the number one there, and

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Speaker 1: he says, listen, Dan Um, I'm on the board of

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Speaker 1: a club called Doubles and we'd like to double your salary.

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Speaker 1: Whatever you want. We want the mystique and we want

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Speaker 1: the regime's vibe. In the Sherry Netherlands Hotel, I had

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Speaker 1: to go one block by the way fifth now going

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Speaker 1: out of my comfort zone. Still there by the way,

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Speaker 1: still there, and uh it was a no brainer. I

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Speaker 1: just got married and I said this would be great.

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Speaker 1: And I said, but I want to design the DJ

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Speaker 1: booth and he said, whatever you want, and I wanted

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Speaker 1: Thorne's turntables, which were my favorite, because that's what Larry

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Speaker 1: Levine was using at the at the garage, I wanted

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Speaker 1: the same as him and David Van Cusa was using.

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Speaker 1: Those didn't turn out to be super I needed to

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Speaker 1: go to techniques after that. But we were using thorns

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Speaker 1: with rubber bands, um as opposed to direct drive. Yeah,

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Speaker 1: and it was. It was really ironic. Is the owner

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Speaker 1: of the club's husband, Gerard turntable from England. That's like

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Speaker 1: a weird thing. But I wouldn't use those because they

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Speaker 1: were terrible. Um so I worked at doubles. What do

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Speaker 1: they say regimes when you walked? Well, I can't say

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Speaker 1: this because it's not politically correct. Um um what can

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Speaker 1: I say politely now? Because I love the people of

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Speaker 1: this country and I don't want to make a statement

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Speaker 1: from about people from because of a country. But they

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Speaker 1: were they're arrogance, said goodbye basically if you know what

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Speaker 1: I'm saying, baby steen the lines Okay, not really, but

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Speaker 1: French people would would not give you the benefit of

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Speaker 1: the dab. That's why we love them so much. And

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Speaker 1: they said, oh wah, I'll be in to uh And

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Speaker 1: I left and I went to Doubles, and I was

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Speaker 1: quickly rising up in the music industry. And I had

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Speaker 1: a you know, we had a baby. Now we have Sean,

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Speaker 1: so I need a substitute. I can't work six nights

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Speaker 1: a week. So I find this guy named Ted Currier.

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Speaker 1: Ted becomes my number two. Ted becomes a record producer.

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Speaker 1: He produces Xavier's worked that Sucker to death. Ted becomes

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Speaker 1: really big. I get Ted a job at Kiss to

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Speaker 1: do the master the master mixes, and I said, Ted,

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Speaker 1: you're getting so busy. We can't handle this. I said,

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Speaker 1: we can't run a business when the business says, yes,

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Speaker 1: we can. Have a guy you need to meet. I said,

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Speaker 1: who's that? He said, this guy is gonna sub for me.

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Speaker 1: I said, we're already subbing for me. So this kid

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Speaker 1: comes in. He's never spun records before. His name is

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Speaker 1: Junior Vasquez. I said, what are you gonna do? We're

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Speaker 1: going to teach him. He learns how to do at

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Speaker 1: Doubles in a suit and tie club. He becomes, you know,

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Speaker 1: the go to guy obviously. So now we have the

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Speaker 1: master mixes for WBLS and Kiss going on at Doubles,

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Speaker 1: all the tapes all the Saturday and Friday night shows

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Speaker 1: are coming out of Doubles. No one knows this in

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Speaker 1: the world. The owners don't know it. Junior rises up

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Speaker 1: to this huge mixer, Madonna discovers him while he's working

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Speaker 1: at Doubles, and they do Vogue and all those records.

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Speaker 1: So it was a great time for us. We had

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Speaker 1: a ball and I was down to like once every

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Speaker 1: two weeks at this point, but I had the contract

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Speaker 1: and I'm stumping it out to these guys and we

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Speaker 1: wind up having like six of the greatest DJs of

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Speaker 1: all time coming out of this little club Doubles. You're

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Speaker 1: listening to Daniel Glass on the Bob Left Sets podcast.

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00:21:58,000 --> 00:22:00,840
Speaker 1: This podcast is brought to you by two new which

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00:22:00,920 --> 00:22:04,880
Speaker 1: brings together all the live, sports, music, news and podcasts

389
00:22:04,960 --> 00:22:08,760
Speaker 1: you love, original, live and on demand audio, all in

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00:22:08,880 --> 00:22:12,760
Speaker 1: one place. Go to tune in dot com slash left

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00:22:12,760 --> 00:22:16,800
Speaker 1: Sets to download and listen. Now more of my conversation

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Speaker 1: with Daniel Glass, recorded live in Santa Barbara at the

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Speaker 1: Music Media Summit. Okay, but you marry your wife and

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Speaker 1: your wife's father is in the business. I worked for

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Speaker 1: Sam for about three or four years. We had a

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Speaker 1: lot of success and This was its simultaneous to DJ. Yes,

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Speaker 1: a lot of jobs. Who want to you tell the

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00:22:34,440 --> 00:22:37,919
Speaker 1: audience who Sam was? So Sam Weiss was a was

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Speaker 1: an R and B pioneer entrepreneur who owned the biggest

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Speaker 1: one stop in the world, win records and video. First

401
00:22:45,880 --> 00:22:49,920
Speaker 1: guy to ever Danny Bush worked there. Um. So one

402
00:22:49,960 --> 00:22:53,359
Speaker 1: stop was a place where retail stores would come to

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Speaker 1: get all the labels, all the brands. And this was

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00:22:55,800 --> 00:22:59,440
Speaker 1: in the food business, the clothing business. It was a warehouse.

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00:23:00,119 --> 00:23:02,919
Speaker 1: You could either buy by phone and you could do it,

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00:23:03,080 --> 00:23:07,119
Speaker 1: you know, or telex before faxing, or visit there and

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00:23:07,160 --> 00:23:09,600
Speaker 1: you'd go into a little booth, listen to the new

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00:23:09,640 --> 00:23:13,080
Speaker 1: selections and then you'd buy it. But every single label,

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00:23:13,359 --> 00:23:15,680
Speaker 1: so the major labels independent, but all the records would

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Speaker 1: break out of here and the radio stations would be calling,

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Speaker 1: what's happening. This was the pulse of the street at

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Speaker 1: a one stop. Everything happened at a one stop and uh.

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Speaker 1: In fact, some of the records would come in and

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00:23:29,160 --> 00:23:31,399
Speaker 1: so quickly unpacked, they wouldnt even get unpacked. They'd go

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Speaker 1: right back out to the stores. And you could sell

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Speaker 1: out of a one stop twenty five to fifty thousand

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Speaker 1: copies of a record, but you saw it all. Our

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Speaker 1: little record company was based there and we had we

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Speaker 1: had a lot of big dance and R and B hits,

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Speaker 1: and we were very tied into radio. And I worked

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Speaker 1: for my father in law before I went to Chrystalis.

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Speaker 1: I worked there for about three or four years. So

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Speaker 1: how did you get the job at chrystmas Well, we

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00:23:56,080 --> 00:24:01,720
Speaker 1: did a very good job. Um clumb Be. Columbia Records

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00:24:02,400 --> 00:24:07,439
Speaker 1: hired us secretly to work their records. Bill Graham was

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Speaker 1: a was was everybody who who who? Bill Graham is

427
00:24:11,400 --> 00:24:14,960
Speaker 1: the famous promoter and venue of Filmore's Filmore West. So

428
00:24:15,080 --> 00:24:19,480
Speaker 1: Bill Graham had a band called Santana, and Santana had

429
00:24:19,520 --> 00:24:22,960
Speaker 1: a song called One Chain, Don't Make No Prison, and

430
00:24:23,000 --> 00:24:25,440
Speaker 1: it was a dance record, and all these dance records

431
00:24:25,440 --> 00:24:28,000
Speaker 1: were coming out. Rod Stewart had one. Everyone was coming

432
00:24:28,080 --> 00:24:30,640
Speaker 1: with a disco or a dance record, but he didn't

433
00:24:30,680 --> 00:24:34,600
Speaker 1: trust Columbia Records, so they sub contracted this to us

434
00:24:34,680 --> 00:24:36,200
Speaker 1: to run it up the charts and get him on.

435
00:24:36,600 --> 00:24:38,680
Speaker 1: People just wanted us to get records on. One radio

436
00:24:38,720 --> 00:24:41,639
Speaker 1: station was w b LS, which really ran America at

437
00:24:41,680 --> 00:24:45,520
Speaker 1: the time. A DJ named Frankie Crocker, who was you know,

438
00:24:45,640 --> 00:24:48,040
Speaker 1: he was the Howard Stern of music, the biggest DJ

439
00:24:48,200 --> 00:24:51,840
Speaker 1: in the world, legendarily he took money though, well, my

440
00:24:51,920 --> 00:24:53,720
Speaker 1: father in law went to the it's it's in the public.

441
00:24:54,000 --> 00:24:57,800
Speaker 1: My youngest son is studying, has a class. He's in

442
00:24:57,880 --> 00:25:00,520
Speaker 1: college now, and it's actually the trials of and Freed

443
00:25:00,920 --> 00:25:02,800
Speaker 1: or in there. My father in law testified in those

444
00:25:02,880 --> 00:25:07,200
Speaker 1: trials about what happened what didn't happen. Um Al Sharpton

445
00:25:07,440 --> 00:25:09,919
Speaker 1: was the guy, by the way, supposedly the bag man

446
00:25:10,080 --> 00:25:14,560
Speaker 1: for James Brown and all that transactional money. Yes, yes, yes,

447
00:25:14,600 --> 00:25:16,600
Speaker 1: if you look at out Al Sharpton. I can't talk

448
00:25:16,600 --> 00:25:18,800
Speaker 1: about Frankie Crocker's past of what he did or didn't

449
00:25:18,840 --> 00:25:22,560
Speaker 1: do because I never saw it, um so I that's

450
00:25:22,560 --> 00:25:27,159
Speaker 1: all alleged or hearsay. But Frankie was great to us, um.

451
00:25:28,600 --> 00:25:31,480
Speaker 1: But the point was we was so tied into w

452
00:25:31,680 --> 00:25:35,520
Speaker 1: BLS and subsequently w K to you and subsequently what

453
00:25:35,760 --> 00:25:38,720
Speaker 1: w xl O had become that the major labels came

454
00:25:38,760 --> 00:25:41,879
Speaker 1: to us for help. So we were doing that on

455
00:25:41,960 --> 00:25:45,160
Speaker 1: the side, and then Barbara Streisan had this song called

456
00:25:45,200 --> 00:25:47,840
Speaker 1: the Main Event, and she had no more tears. Enough

457
00:25:47,960 --> 00:25:52,679
Speaker 1: is enough. We did that. So the president of Columbia,

458
00:25:53,000 --> 00:25:55,840
Speaker 1: guy named Jaff Craigle, left to become the head of Chrysalis,

459
00:25:56,200 --> 00:25:58,800
Speaker 1: and I was his first phone call. What was strained

460
00:25:59,040 --> 00:26:03,639
Speaker 1: was he was my AMO, was best friend. So I

461
00:26:03,760 --> 00:26:06,320
Speaker 1: told my father that I'm leaving. It didn't go very well,

462
00:26:06,400 --> 00:26:08,080
Speaker 1: but I also thought it'd be great for the marriage

463
00:26:08,400 --> 00:26:11,800
Speaker 1: because we would just talk music and business twenty four hours,

464
00:26:11,880 --> 00:26:13,879
Speaker 1: you know, seven days a week. So it was actually

465
00:26:13,920 --> 00:26:15,760
Speaker 1: great for the family, was great for the marriage. And

466
00:26:15,880 --> 00:26:19,399
Speaker 1: then I started at Chrysalis and all he wanted me

467
00:26:19,480 --> 00:26:22,080
Speaker 1: to do was mix and edit records. That was my job.

468
00:26:22,640 --> 00:26:25,600
Speaker 1: Go into the studio, mix edit, and those days it

469
00:26:25,720 --> 00:26:29,040
Speaker 1: was called new music marketing and you I was the

470
00:26:29,080 --> 00:26:32,440
Speaker 1: head of new music production and marketing, and that was

471
00:26:32,520 --> 00:26:34,159
Speaker 1: my job at Crystalis. All I had to do is

472
00:26:34,240 --> 00:26:37,520
Speaker 1: take the cool records from overseas, mix them, edit them

473
00:26:37,880 --> 00:26:40,800
Speaker 1: and give them to the staff. But ultimately you became

474
00:26:40,800 --> 00:26:44,240
Speaker 1: a head of promotion. How did that happen? All my mistake? Um.

475
00:26:45,119 --> 00:26:49,280
Speaker 1: I brought the record we had finished, very passionately spanned

476
00:26:49,280 --> 00:26:51,520
Speaker 1: out l A. I brought it to all my black

477
00:26:51,880 --> 00:26:56,000
Speaker 1: DJ friends. I brought that True True. I brought True

478
00:26:56,080 --> 00:26:59,320
Speaker 1: to Frankie Crocker, who put it on and went number one.

479
00:26:59,640 --> 00:27:01,760
Speaker 1: Then I'm went to Philadelphia to w d A. S

480
00:27:01,840 --> 00:27:05,320
Speaker 1: to see butter Ball and he put it on. And

481
00:27:05,400 --> 00:27:10,160
Speaker 1: I think what got me as the guy had a promotion,

482
00:27:10,359 --> 00:27:14,119
Speaker 1: was my brother in law was graduating from Stanford. I

483
00:27:14,240 --> 00:27:18,359
Speaker 1: had never been to San Francisco, Palo Alto. We and

484
00:27:18,480 --> 00:27:24,159
Speaker 1: I did something crazy. We're driving we Land and my

485
00:27:24,280 --> 00:27:25,680
Speaker 1: father in law was a tough, tough guy. If you

486
00:27:25,720 --> 00:27:28,280
Speaker 1: know anything about the Wise brothers, High Wise, Sam Wise

487
00:27:28,359 --> 00:27:31,159
Speaker 1: and George Weiss, two of them were very tough and

488
00:27:31,280 --> 00:27:35,240
Speaker 1: their stories are in many books. And you know, tough

489
00:27:35,320 --> 00:27:37,240
Speaker 1: guys from the Bronx. So I was a little afraid

490
00:27:37,280 --> 00:27:39,520
Speaker 1: of my father in law. So as we get in

491
00:27:39,560 --> 00:27:41,199
Speaker 1: the rent a car, I said, would you mind if

492
00:27:41,240 --> 00:27:43,639
Speaker 1: we made one stop? And I have to and he's

493
00:27:43,680 --> 00:27:46,320
Speaker 1: already like really upset with me that I took this job.

494
00:27:47,400 --> 00:27:50,760
Speaker 1: Can we stop at kfor C And he said who

495
00:27:50,800 --> 00:27:53,080
Speaker 1: do you know that? I said, don't know anybody. So

496
00:27:53,200 --> 00:27:55,200
Speaker 1: we stopped at this and then parking lot of k

497
00:27:55,400 --> 00:27:57,520
Speaker 1: f r C, which is this big radio station, the

498
00:27:57,560 --> 00:28:00,320
Speaker 1: biggest top forty on the Would you say John biggest

499
00:28:00,400 --> 00:28:05,320
Speaker 1: on the West coast. Yeah, so I stopped there and

500
00:28:05,400 --> 00:28:08,200
Speaker 1: I go out of the car and I've got once

501
00:28:08,400 --> 00:28:11,399
Speaker 1: one I guess. It was a seven inch disc of

502
00:28:11,880 --> 00:28:14,639
Speaker 1: of True by Spandu Ballet. And I go to the

503
00:28:14,720 --> 00:28:17,360
Speaker 1: receptionist and this guy greets me, such a nice guy

504
00:28:18,480 --> 00:28:20,879
Speaker 1: and he says, you know you have no appointment. I

505
00:28:20,960 --> 00:28:23,080
Speaker 1: said no, I said, but I need to get this

506
00:28:23,200 --> 00:28:26,800
Speaker 1: to Sandy Louis, who is a female. She's the music director.

507
00:28:27,440 --> 00:28:30,040
Speaker 1: And he says, let me see what I can do.

508
00:28:30,800 --> 00:28:32,879
Speaker 1: And he comes back. He says, she won't see you,

509
00:28:32,960 --> 00:28:35,000
Speaker 1: but I'm going to give it to her. And he says,

510
00:28:35,080 --> 00:28:38,160
Speaker 1: I know this group, and he says, call me next week.

511
00:28:38,960 --> 00:28:42,400
Speaker 1: I go to the graduation and this guy calls me

512
00:28:42,440 --> 00:28:45,080
Speaker 1: and he says, she really likes it, but she doesn't

513
00:28:45,120 --> 00:28:50,760
Speaker 1: believe in Chrysalis, which is interesting. So eventually she calls

514
00:28:50,800 --> 00:28:52,400
Speaker 1: me and she and she says, we're gonna play it,

515
00:28:52,520 --> 00:28:54,680
Speaker 1: but can you can you guys deliver this? So I

516
00:28:54,720 --> 00:28:57,520
Speaker 1: tell my boss, I said, listen, she believes in the record,

517
00:28:57,560 --> 00:28:59,800
Speaker 1: but not the company. We haven't delivered a hit, and well,

518
00:28:59,840 --> 00:29:03,040
Speaker 1: I just joined the company. The company was cold. So

519
00:29:05,000 --> 00:29:08,640
Speaker 1: everybody starts playing this record. And this guy, by the way,

520
00:29:09,080 --> 00:29:10,840
Speaker 1: is now the president of our c A. His name

521
00:29:10,920 --> 00:29:13,760
Speaker 1: is Keith Naftally. This is the receptionist. He went on

522
00:29:13,840 --> 00:29:18,120
Speaker 1: to KM. Yeah, that's a real story. So be nice

523
00:29:18,160 --> 00:29:20,320
Speaker 1: to people on the bottom and the people on the top.

524
00:29:20,560 --> 00:29:24,240
Speaker 1: Good advice. Keith was great and stayed I stayed friendly

525
00:29:24,320 --> 00:29:28,120
Speaker 1: with him and we're still friends. So True goes to

526
00:29:28,240 --> 00:29:31,400
Speaker 1: number two on the pop charts. And there's a very

527
00:29:31,760 --> 00:29:35,480
Speaker 1: very bad situation with Huey Lewis and the News and

528
00:29:35,600 --> 00:29:39,320
Speaker 1: Chrysalis and it's it's documented in Rolling Stone. The manager

529
00:29:39,320 --> 00:29:43,000
Speaker 1: who was a hothead, this guy Bob Brown's basically we

530
00:29:43,080 --> 00:29:46,560
Speaker 1: want we want off the label The Terrible And they

531
00:29:46,600 --> 00:29:48,640
Speaker 1: weren't that big. They were a bar band from Mill

532
00:29:48,760 --> 00:29:52,160
Speaker 1: Valley at the time and they've done okay um, but

533
00:29:52,280 --> 00:29:56,280
Speaker 1: they delivered this record Cold Sports, and Bob Brown really

534
00:29:57,160 --> 00:30:01,320
Speaker 1: said we would like him to be in charge. And

535
00:30:01,400 --> 00:30:03,600
Speaker 1: I and I said, I don't know anything about this stuff.

536
00:30:05,120 --> 00:30:06,960
Speaker 1: I've never been to any of these radio stations. I

537
00:30:07,040 --> 00:30:09,720
Speaker 1: know nothing about it. So my boss says, you better learned.

538
00:30:09,920 --> 00:30:12,760
Speaker 1: So my wife got flash cards and she did the

539
00:30:12,960 --> 00:30:15,040
Speaker 1: w's in the case and would test me every night,

540
00:30:16,000 --> 00:30:18,200
Speaker 1: and uh, I had to get the program director's name,

541
00:30:18,280 --> 00:30:21,080
Speaker 1: the music director's name, the radio stage location. I didn't

542
00:30:21,080 --> 00:30:22,240
Speaker 1: know what a k was. I don't know what a

543
00:30:22,320 --> 00:30:25,720
Speaker 1: queue was. And um, I had two I had two

544
00:30:25,800 --> 00:30:29,280
Speaker 1: bosses in promotion, but they really weren't my bosses. Um.

545
00:30:30,280 --> 00:30:32,320
Speaker 1: And then I started to travel and I went down

546
00:30:32,360 --> 00:30:36,479
Speaker 1: to these places and I learned about it and got

547
00:30:36,560 --> 00:30:39,800
Speaker 1: named Fred Decippio took me under his wing, who was

548
00:30:40,000 --> 00:30:42,520
Speaker 1: documented in the book hit Man. It was very nice

549
00:30:42,600 --> 00:30:45,000
Speaker 1: to me and mentored me on the game of promotion,

550
00:30:45,120 --> 00:30:47,800
Speaker 1: and I learned it quickly. I guess I did well

551
00:30:47,840 --> 00:30:50,680
Speaker 1: in the flash cards, okay, okay, but also that turned

552
00:30:50,680 --> 00:30:54,400
Speaker 1: into a gigantic album. So when did you know? Wow,

553
00:30:54,560 --> 00:30:56,960
Speaker 1: am I we have a juggernaut here. I was in

554
00:30:57,040 --> 00:30:59,800
Speaker 1: Atlanta and my boss I had never been to it,

555
00:31:00,000 --> 00:31:02,520
Speaker 1: and I've never been to the South, and my boss

556
00:31:02,520 --> 00:31:05,400
Speaker 1: sent me down. It was a consultant named Don Colberg,

557
00:31:05,760 --> 00:31:07,920
Speaker 1: and Jack Craigo said, forget about to promote. You go

558
00:31:08,040 --> 00:31:10,440
Speaker 1: down there. You go down there, and you've got to

559
00:31:10,480 --> 00:31:13,120
Speaker 1: get this record re added the first single I think

560
00:31:13,200 --> 00:31:16,360
Speaker 1: was cold Heart and Soul, and they dropped it. I

561
00:31:17,240 --> 00:31:19,440
Speaker 1: go to the radio station. The guy says, you gotta

562
00:31:19,480 --> 00:31:21,920
Speaker 1: come out tonight. You come out tonight with us, we'll

563
00:31:21,920 --> 00:31:23,280
Speaker 1: talk about it. But he said, we don't do that.

564
00:31:23,360 --> 00:31:25,840
Speaker 1: We don't go back on records. And we went to

565
00:31:25,960 --> 00:31:29,520
Speaker 1: Jim Davenport's house, the old Bear, who is this independent

566
00:31:29,560 --> 00:31:32,240
Speaker 1: promotion guy, and we're hanging around and he's got a

567
00:31:32,320 --> 00:31:35,000
Speaker 1: jukebox and I said, put that record on the jukebox.

568
00:31:35,000 --> 00:31:37,200
Speaker 1: And he says he played it twice and it sounded

569
00:31:37,240 --> 00:31:39,040
Speaker 1: really good. And I said, but that's the one you dropped.

570
00:31:40,120 --> 00:31:42,640
Speaker 1: So they tortured me for about three weeks. Then they

571
00:31:42,760 --> 00:31:46,160
Speaker 1: re add the record. And you needed the south. Atlanta

572
00:31:46,360 --> 00:31:48,880
Speaker 1: was the key to the whole country. You get Atlanta,

573
00:31:49,160 --> 00:31:53,000
Speaker 1: you get Augusta, you get Charlotte, you get Savannah, you

574
00:31:53,160 --> 00:31:57,200
Speaker 1: get everywhere came in north. You know, Tampa was really

575
00:31:57,280 --> 00:31:59,320
Speaker 1: important in those days, and you got them and they

576
00:31:59,320 --> 00:32:01,480
Speaker 1: would spread to EXAs, but you had to have the South.

577
00:32:01,800 --> 00:32:04,360
Speaker 1: But John Young and Jeff McCartney were running the South.

578
00:32:04,480 --> 00:32:10,640
Speaker 1: One Q one was we got nine And once he

579
00:32:10,720 --> 00:32:13,520
Speaker 1: went back on the record, the record goes to number one.

580
00:32:13,680 --> 00:32:16,600
Speaker 1: Every single one number one after that, and I thought,

581
00:32:16,640 --> 00:32:22,000
Speaker 1: that's the way it works. So that's every record. What

582
00:32:22,160 --> 00:32:26,240
Speaker 1: number one? Now you ultimately had a string of hits

583
00:32:26,760 --> 00:32:29,400
Speaker 1: and then Charles Coppelman calls and says, come with me

584
00:32:29,480 --> 00:32:33,320
Speaker 1: to my new company. Well, Chrystal was sold, unfortunately, and

585
00:32:33,400 --> 00:32:35,000
Speaker 1: the one company they said they would never sell to

586
00:32:35,080 --> 00:32:37,320
Speaker 1: as E M I. That the owners had a divorce

587
00:32:37,520 --> 00:32:39,880
Speaker 1: and they sold to E M I. I'm unemployed for

588
00:32:39,920 --> 00:32:44,560
Speaker 1: about six hours, um, and the phone's ringing and it

589
00:32:44,720 --> 00:32:49,000
Speaker 1: was Stephen Swid, Charles Coppelman and Martin ben Deer. We'd

590
00:32:49,040 --> 00:32:54,000
Speaker 1: like to meet you, and they said, we're starting a company.

591
00:32:54,080 --> 00:32:57,360
Speaker 1: E M I is funding us, and we don't really

592
00:32:57,400 --> 00:32:59,360
Speaker 1: have anybody who knows anything about the record business. They

593
00:32:59,400 --> 00:33:03,720
Speaker 1: were publishers and they had just scored. So I took

594
00:33:03,760 --> 00:33:06,600
Speaker 1: the job because I said, this is the best blank

595
00:33:06,720 --> 00:33:09,120
Speaker 1: canvas I've ever seen. That's why I took the job.

596
00:33:09,800 --> 00:33:11,680
Speaker 1: I think it's that old thing that to find out

597
00:33:11,760 --> 00:33:15,800
Speaker 1: just how good you are. It was completely blank canvas,

598
00:33:15,920 --> 00:33:18,760
Speaker 1: well funded. So I took that job coming off this

599
00:33:19,120 --> 00:33:21,560
Speaker 1: incredible We just finished Shade O'Connor World Party in the

600
00:33:21,600 --> 00:33:25,280
Speaker 1: Water Boys so and we went into you know the

601
00:33:25,320 --> 00:33:27,640
Speaker 1: problem with the music of SPK though the beginning music

602
00:33:27,800 --> 00:33:34,440
Speaker 1: was very very pop, very pop, and that was one

603
00:33:34,440 --> 00:33:37,000
Speaker 1: of the greatest three year runs of all time. I

604
00:33:37,040 --> 00:33:39,760
Speaker 1: don't think there would be an Interscope or a giant

605
00:33:39,960 --> 00:33:42,360
Speaker 1: or anything if we didn't have that run, because it

606
00:33:42,520 --> 00:33:45,240
Speaker 1: proved that you could take it from scratch and build

607
00:33:45,360 --> 00:33:49,640
Speaker 1: a huge company. Well, the first hit was Technotronic. First

608
00:33:49,680 --> 00:33:51,920
Speaker 1: big hit was with Pump Up the Jam, and then

609
00:33:52,280 --> 00:33:57,800
Speaker 1: Vanilla Ice No No, No. Wilson Phillips was second. No No.

610
00:33:57,920 --> 00:34:00,080
Speaker 1: We had Katrina in the waves. We didn't have the

611
00:34:00,120 --> 00:34:04,880
Speaker 1: big hit, but we had Technotronic into Wilson Phillips. Technotronic

612
00:34:05,600 --> 00:34:11,320
Speaker 1: was probably the first mass licensed record um and I

613
00:34:11,440 --> 00:34:13,880
Speaker 1: became friendly with the guy that that licensed did, a

614
00:34:13,920 --> 00:34:17,440
Speaker 1: guy n Ron Perlman, who owned Revlon. By the way, afterwards,

615
00:34:17,640 --> 00:34:21,080
Speaker 1: this funny story, one of my rewards for doing so

616
00:34:21,200 --> 00:34:22,880
Speaker 1: well at SPK was they wanted to get me some

617
00:34:22,960 --> 00:34:25,760
Speaker 1: custom suits and I went to this guy fear Auntie

618
00:34:25,800 --> 00:34:28,600
Speaker 1: for a suit. He was there and I told him

619
00:34:28,640 --> 00:34:30,600
Speaker 1: what I did for a living, and he heard the

620
00:34:30,680 --> 00:34:34,759
Speaker 1: song move This and he made it a Revlon commercial. So,

621
00:34:35,760 --> 00:34:37,880
Speaker 1: but if you go to any sports or the sports

622
00:34:37,960 --> 00:34:42,279
Speaker 1: places started playing Pump Up the Jam uh as one

623
00:34:42,320 --> 00:34:47,000
Speaker 1: of the anthems of basketball and baseball football, and then

624
00:34:47,360 --> 00:34:52,120
Speaker 1: Wilson Phillips was the second one. Then Vanilla Ice was

625
00:34:52,239 --> 00:34:57,400
Speaker 1: a monster hit, John Saccada, Blur, Jesus Jones. Then we

626
00:34:57,480 --> 00:34:59,920
Speaker 1: did the Creation Records deal where we had a door

627
00:35:00,040 --> 00:35:03,279
Speaker 1: Robal slow Dive Oasis. All of this in three years.

628
00:35:03,719 --> 00:35:06,560
Speaker 1: It was I'm leaving out. We had the teenage mutant

629
00:35:06,600 --> 00:35:10,360
Speaker 1: Ninja Turtles that was multi platinum. I'm leaving out like

630
00:35:10,480 --> 00:35:12,960
Speaker 1: six more. This is all in three years. That was

631
00:35:13,000 --> 00:35:16,160
Speaker 1: a hundred million dollar company in those days a year.

632
00:35:16,760 --> 00:35:21,080
Speaker 1: And you also assemble a promotion team where those people

633
00:35:21,160 --> 00:35:25,240
Speaker 1: go on to greater success. Yeah, I got the secret.

634
00:35:25,280 --> 00:35:28,680
Speaker 1: The secret was the CBS College Department wasn't called Sony,

635
00:35:29,440 --> 00:35:31,200
Speaker 1: and I would take the best reps every year. I

636
00:35:31,280 --> 00:35:33,160
Speaker 1: used to say to those guys, why don't you take

637
00:35:33,200 --> 00:35:35,600
Speaker 1: those people? I took them all. So that's why I

638
00:35:35,680 --> 00:35:38,320
Speaker 1: found Hillary who went up to run the w n B. A,

639
00:35:38,440 --> 00:35:42,560
Speaker 1: found Greg Thompson, I found uh, Chris Waltman who's now

640
00:35:42,640 --> 00:35:45,279
Speaker 1: managing twenty one pilots and NF came out of that

641
00:35:45,400 --> 00:35:50,400
Speaker 1: school um countless people. They were the greatest because they

642
00:35:50,400 --> 00:35:53,239
Speaker 1: were trained really well, and I just would pluck them

643
00:35:53,280 --> 00:35:56,360
Speaker 1: out and throw them into the field. I threw Monty

644
00:35:56,400 --> 00:35:59,520
Speaker 1: Littman into Atlanta, threw Rob Stone who now owns Fader

645
00:35:59,600 --> 00:36:03,000
Speaker 1: and corner Stone. I threw him into San Francisco. Um

646
00:36:03,239 --> 00:36:07,359
Speaker 1: John Colin, who legend I threw him into Boston. Uh,

647
00:36:07,640 --> 00:36:10,319
Speaker 1: so many of them they were they were great, um

648
00:36:10,360 --> 00:36:13,200
Speaker 1: and still friendly with all them. They were just all terrific. Okay,

649
00:36:13,239 --> 00:36:16,360
Speaker 1: So SPK has this amazing run. They saw the company

650
00:36:16,400 --> 00:36:19,040
Speaker 1: in the e M I twice in my life. Okay,

651
00:36:19,640 --> 00:36:22,800
Speaker 1: and did you then you then get elevated to a

652
00:36:22,880 --> 00:36:27,120
Speaker 1: big position the worst that was the worst, um, the

653
00:36:27,200 --> 00:36:29,680
Speaker 1: golden handcuffs. If I wanted the big check was to

654
00:36:29,760 --> 00:36:33,480
Speaker 1: become president CEO of Emerge e m I Records Group

655
00:36:33,560 --> 00:36:36,360
Speaker 1: North America. We know how great when you emerge three cultures,

656
00:36:36,960 --> 00:36:41,640
Speaker 1: three promotion staffs, three business affairs, three A and rs UM.

657
00:36:42,440 --> 00:36:44,520
Speaker 1: It was a good run, but I didn't enjoy one

658
00:36:44,560 --> 00:36:46,680
Speaker 1: day of it. It was not me, it's not who

659
00:36:46,719 --> 00:36:49,680
Speaker 1: I am. And uh. I spent about two years or

660
00:36:49,760 --> 00:36:51,719
Speaker 1: maybe a little less doing that, and it was tough.

661
00:36:51,880 --> 00:36:58,040
Speaker 1: It was really tough. And every superstar delivered a record,

662
00:36:58,480 --> 00:37:03,120
Speaker 1: shall we say less and Robust I had Billie Idol

663
00:37:03,239 --> 00:37:05,919
Speaker 1: Cyber period, I had rock said I had Queen's Reich,

664
00:37:06,160 --> 00:37:09,520
Speaker 1: I had Robert Palmer, I had Pat bennettor not one

665
00:37:09,600 --> 00:37:11,719
Speaker 1: of them delivered the home run that we thought because

666
00:37:11,760 --> 00:37:13,759
Speaker 1: on paper it looked great. But I think it had

667
00:37:13,760 --> 00:37:15,360
Speaker 1: to do with the culture. We managed to break a

668
00:37:15,400 --> 00:37:17,279
Speaker 1: few on the side. We had arrested development, we had

669
00:37:17,280 --> 00:37:21,040
Speaker 1: a few other pretty big hits, but it was very tough.

670
00:37:21,320 --> 00:37:24,279
Speaker 1: And then the war happened between Blur E M F

671
00:37:25,239 --> 00:37:28,359
Speaker 1: Jesus Jesus Jones, and they weren't happy they were under

672
00:37:28,400 --> 00:37:31,440
Speaker 1: the same because they needed their own cultures to breathe.

673
00:37:32,440 --> 00:37:36,080
Speaker 1: So then that ends and suddenly I can't remember, did

674
00:37:36,160 --> 00:37:38,000
Speaker 1: you go independent before you worked with Doug or you

675
00:37:38,040 --> 00:37:41,839
Speaker 1: went no, no, no, no, Doug, Doug. We all everybody

676
00:37:42,239 --> 00:37:45,240
Speaker 1: lost their job within a month. It was Mo Austen Doug.

677
00:37:45,760 --> 00:37:47,200
Speaker 1: I don't com you know, I'm not saying I was

678
00:37:47,280 --> 00:37:51,000
Speaker 1: on that level, but it was me. Everyone suddenly is out,

679
00:37:51,680 --> 00:37:54,759
Speaker 1: Clive Davis eventually he was out. So Doug called me

680
00:37:54,840 --> 00:38:00,400
Speaker 1: and said Edgar. I said, who's Edgar? Proto e d

681
00:38:01,040 --> 00:38:04,400
Speaker 1: g e are he pronounced it. Edgar is going to

682
00:38:04,480 --> 00:38:06,880
Speaker 1: fund me in a new company called Rising Tide, and

683
00:38:06,960 --> 00:38:09,600
Speaker 1: I'd love you to join me. He said, you're an

684
00:38:09,600 --> 00:38:13,000
Speaker 1: independent record guy, and you know I'm independent now, And

685
00:38:13,080 --> 00:38:14,680
Speaker 1: I did it with him, and the two of us

686
00:38:14,719 --> 00:38:17,600
Speaker 1: had one desk at the Hit Factory recording studio. Eddie

687
00:38:17,640 --> 00:38:22,200
Speaker 1: Germano had generously given us space. And from scratch, we

688
00:38:22,360 --> 00:38:26,400
Speaker 1: create this company called Rising Tide. We get hot. I

689
00:38:26,520 --> 00:38:30,799
Speaker 1: hired Monty Littman, I hired Steve Leeds. I hire Kiddo Massemburg,

690
00:38:31,120 --> 00:38:34,320
Speaker 1: who had given me D'Angelo when I was at E

691
00:38:34,520 --> 00:38:36,040
Speaker 1: m I and I thought he was terrific. And he

692
00:38:36,160 --> 00:38:41,520
Speaker 1: then brought in India Ire and Erica Bado. So we're

693
00:38:41,600 --> 00:38:44,640
Speaker 1: often running. And then Doug calls me up. I was

694
00:38:44,680 --> 00:38:48,440
Speaker 1: in the studio in Muscle Shoals and he says, come home.

695
00:38:49,600 --> 00:38:54,359
Speaker 1: You're the new president and CEO of Universal. I said,

696
00:38:54,400 --> 00:38:57,640
Speaker 1: what's Universal? He said, that's the new record company and

697
00:38:57,760 --> 00:39:00,520
Speaker 1: you have to find a logo. And I'm going to

698
00:39:00,560 --> 00:39:02,160
Speaker 1: be the chairman, I said, went up to al Teller.

699
00:39:02,560 --> 00:39:05,560
Speaker 1: He said, oh, he's gone. They're all gone. We're gonna

700
00:39:05,600 --> 00:39:09,240
Speaker 1: do this, and everybody's excited. So we came and started

701
00:39:09,400 --> 00:39:13,040
Speaker 1: Universal and UH from scratch, and a lot of the people,

702
00:39:13,080 --> 00:39:16,120
Speaker 1: I guess is still there today. And it was a

703
00:39:16,280 --> 00:39:18,640
Speaker 1: very very tough time for me, because when you joined

704
00:39:18,719 --> 00:39:20,520
Speaker 1: somebody to be independent and have a piece of a

705
00:39:20,560 --> 00:39:22,840
Speaker 1: company and all of a sudden you're an executive with

706
00:39:23,360 --> 00:39:26,759
Speaker 1: department meetings and politics and and stuff. I was a

707
00:39:26,800 --> 00:39:29,040
Speaker 1: fish out of water and it was It was a

708
00:39:29,200 --> 00:39:32,200
Speaker 1: very tough time because I joined Doug for that dream

709
00:39:32,920 --> 00:39:34,800
Speaker 1: and I thought we would have been the biggest independent

710
00:39:34,840 --> 00:39:38,839
Speaker 1: in the business. So that that wasn't a great time

711
00:39:38,880 --> 00:39:42,200
Speaker 1: for me. And so then you go independent distributed by

712
00:39:42,560 --> 00:39:48,560
Speaker 1: Sony No. No, I did not. I went independent for

713
00:39:48,640 --> 00:39:52,080
Speaker 1: a few days, and my dear, dear friend Danny Goldberg

714
00:39:52,120 --> 00:39:54,200
Speaker 1: called me, well, you were independent for longer than a

715
00:39:54,239 --> 00:39:57,799
Speaker 1: few days, but whatever. And then Danny said I need

716
00:39:57,920 --> 00:40:01,879
Speaker 1: some help, and I stayed with him for a really

717
00:40:01,960 --> 00:40:05,040
Speaker 1: long time. I had a wonderful, wonderful time with him.

718
00:40:05,440 --> 00:40:08,480
Speaker 1: Learned a lot, and that was really graduate school of

719
00:40:09,040 --> 00:40:12,120
Speaker 1: how to run a company. Had to be fiscally responsible.

720
00:40:12,640 --> 00:40:14,359
Speaker 1: And I don't think I could have done it if

721
00:40:14,400 --> 00:40:16,880
Speaker 1: I didn't spend those years with Danny. So you learn

722
00:40:16,960 --> 00:40:19,200
Speaker 1: more from Danny than you do not from Danny, and

723
00:40:19,280 --> 00:40:22,040
Speaker 1: Danny's it's still a dear dear friend learn and he

724
00:40:22,160 --> 00:40:24,759
Speaker 1: taught me a lot because we had a day what

725
00:40:24,880 --> 00:40:27,359
Speaker 1: you did with today with Rob Glazer, we did every

726
00:40:27,440 --> 00:40:30,320
Speaker 1: single day. Every day we did an hour worth of

727
00:40:30,520 --> 00:40:34,400
Speaker 1: worldwide politics and current events. And I looked forward to

728
00:40:34,480 --> 00:40:37,000
Speaker 1: it and we met Al Franken would come in, Hillary

729
00:40:37,040 --> 00:40:39,960
Speaker 1: Clinton would come in, Chuck Schumer, this young centator would

730
00:40:40,000 --> 00:40:42,680
Speaker 1: come in. It was great, um, and we discussed the

731
00:40:42,719 --> 00:40:46,759
Speaker 1: world of liberal left wing politics, UM, and it was.

732
00:40:46,880 --> 00:40:50,000
Speaker 1: It was fantastic. In his house was the centerpiece of

733
00:40:50,480 --> 00:40:55,600
Speaker 1: New York liberal art. And you'd meet Ornette Coleman and

734
00:40:55,719 --> 00:40:58,719
Speaker 1: Patti Smith. It was the coolest place to go with

735
00:40:58,880 --> 00:41:00,839
Speaker 1: it when he had a party because it wasn't only

736
00:41:00,920 --> 00:41:03,000
Speaker 1: people from music, it was people from art. It was

737
00:41:03,080 --> 00:41:06,399
Speaker 1: like being in the Chelsea, except it was at his house.

738
00:41:07,200 --> 00:41:10,800
Speaker 1: So that was finishing school. I guess the lesson for

739
00:41:10,880 --> 00:41:16,000
Speaker 1: anybody listening is for artemus records. But I met these

740
00:41:16,120 --> 00:41:18,759
Speaker 1: people there that I never would have met. I met

741
00:41:19,280 --> 00:41:22,279
Speaker 1: Ricky Lee Jones and Warren Zevon and got friendly with

742
00:41:22,400 --> 00:41:25,480
Speaker 1: Jackson Brown, and then Dylan would make records for us,

743
00:41:25,560 --> 00:41:30,000
Speaker 1: and and Springsteen and Keith Richards played on Peter Wolf's records,

744
00:41:30,000 --> 00:41:33,480
Speaker 1: and it was just meeting the best of the best

745
00:41:33,600 --> 00:41:37,520
Speaker 1: of the best, and that I needed that in my

746
00:41:37,760 --> 00:41:40,640
Speaker 1: education because I've never met those people before, and I

747
00:41:40,680 --> 00:41:42,759
Speaker 1: never went in the studio with them. So I knew

748
00:41:42,840 --> 00:41:46,960
Speaker 1: when I started my company one day, I'd only want

749
00:41:47,000 --> 00:41:51,319
Speaker 1: to be around the originals, the authentics, and I would

750
00:41:51,440 --> 00:41:55,120
Speaker 1: sit with them. I remember driving hours with Graham Nash.

751
00:41:55,160 --> 00:41:57,600
Speaker 1: He was the only sober, like normal one of that

752
00:41:57,960 --> 00:42:01,480
Speaker 1: those those those guys, and Graham would tell me the

753
00:42:01,560 --> 00:42:04,640
Speaker 1: stories of Laurel Canyon, I and I actually got I

754
00:42:04,760 --> 00:42:07,160
Speaker 1: made I made wrong turns with Graham in the car.

755
00:42:07,239 --> 00:42:09,239
Speaker 1: He never knows, he never knew this, just to hear

756
00:42:09,280 --> 00:42:12,840
Speaker 1: more stories. Tell me about Neil, Tell me about Elliot Roberts,

757
00:42:13,040 --> 00:42:15,960
Speaker 1: Tell me about that, What about Janie? What about? He

758
00:42:16,080 --> 00:42:19,239
Speaker 1: had complete recall because we were both photography freaks, him

759
00:42:19,239 --> 00:42:21,960
Speaker 1: and I, so we had that common bond. Is very

760
00:42:22,000 --> 00:42:25,759
Speaker 1: good father. So I got to meet Graham, I got

761
00:42:25,800 --> 00:42:27,800
Speaker 1: to meet some wackos and Riggie Lee Jones was totally

762
00:42:27,840 --> 00:42:30,080
Speaker 1: out of her mind and Warren Zevon if you know,

763
00:42:30,239 --> 00:42:35,520
Speaker 1: it's nuts, um, but it gave me the It was

764
00:42:35,560 --> 00:42:38,759
Speaker 1: the last refining of my palate before I went into

765
00:42:38,800 --> 00:42:41,200
Speaker 1: the real world. And most people go into the real

766
00:42:41,239 --> 00:42:44,360
Speaker 1: world at two. I waited tell I was eight to

767
00:42:44,440 --> 00:42:48,240
Speaker 1: go into the real world. And I remember Mo Austin.

768
00:42:48,280 --> 00:42:50,080
Speaker 1: I asked him, when did you go into the real world?

769
00:42:50,440 --> 00:42:51,960
Speaker 1: And he didn't go into the real world till he

770
00:42:52,040 --> 00:42:55,520
Speaker 1: was forty something. He was an accountant, and I asked

771
00:42:55,600 --> 00:42:59,120
Speaker 1: him a lot of questions. But Artemis came to an end.

772
00:42:59,280 --> 00:43:03,080
Speaker 1: Some hedge fund creeps ruined it and uh they fired

773
00:43:03,120 --> 00:43:04,640
Speaker 1: my dear friend Danny, and I didn't want to be

774
00:43:04,719 --> 00:43:07,120
Speaker 1: part of it. So that was the day my wife said,

775
00:43:07,560 --> 00:43:09,879
Speaker 1: we're doing this. We're gonna do this with our own money.

776
00:43:10,200 --> 00:43:12,880
Speaker 1: If we if we starve, if we if we struggle,

777
00:43:12,960 --> 00:43:16,120
Speaker 1: We're gonna do this. No more mergers, no more promises,

778
00:43:16,200 --> 00:43:18,200
Speaker 1: no more people telling you you're gonna be Indie. We're

779
00:43:18,200 --> 00:43:21,359
Speaker 1: gonna do this. And we bought two laptops the first

780
00:43:21,440 --> 00:43:24,919
Speaker 1: day and that was how we started. And the first

781
00:43:24,960 --> 00:43:27,840
Speaker 1: success was Phoenix right no no, no, No No. For

782
00:43:28,000 --> 00:43:31,640
Speaker 1: success was second Hand Serenade. Um. This was the number

783
00:43:31,680 --> 00:43:33,800
Speaker 1: one record. I don't know if you remember my space.

784
00:43:34,280 --> 00:43:37,360
Speaker 1: Number one record on my Space was Secondhand Serenade. And

785
00:43:38,520 --> 00:43:41,160
Speaker 1: the manager had invited us to a show and I

786
00:43:41,239 --> 00:43:44,279
Speaker 1: took my whole staff, which was one person besides me,

787
00:43:44,840 --> 00:43:48,359
Speaker 1: But I showed up with um eleven people that night.

788
00:43:48,719 --> 00:43:51,960
Speaker 1: I stole that scene out of the Godfather, and I

789
00:43:51,960 --> 00:43:54,360
Speaker 1: actually told Francis ford Coppo of this story. He loved it.

790
00:43:54,880 --> 00:43:58,480
Speaker 1: Um I took We had one one guy, my partner

791
00:43:58,560 --> 00:44:00,800
Speaker 1: Chris Scully, and I went to the show at the

792
00:44:01,360 --> 00:44:04,879
Speaker 1: Bitter End. And I couldn't show up alone because I'm

793
00:44:04,920 --> 00:44:07,920
Speaker 1: insecure now, like I'm starting from scratch, and you know,

794
00:44:08,080 --> 00:44:10,839
Speaker 1: the major labels are coming in, rolling deep with SUVs

795
00:44:10,880 --> 00:44:13,120
Speaker 1: and and I was one of them at one time.

796
00:44:13,160 --> 00:44:14,560
Speaker 1: And I said, you know what, I cannot show up

797
00:44:14,600 --> 00:44:17,560
Speaker 1: alone and I don't want to pay a tab. So

798
00:44:17,600 --> 00:44:19,319
Speaker 1: I said, why don't we just go? So I had

799
00:44:19,400 --> 00:44:22,880
Speaker 1: my son, every friend he had you come in. So

800
00:44:22,920 --> 00:44:26,359
Speaker 1: the scene of The Godfather, if you remember, um, al

801
00:44:26,400 --> 00:44:29,880
Speaker 1: Pacino finds out that his father had been shot, and

802
00:44:29,920 --> 00:44:32,680
Speaker 1: he said, well, who's protecting my dad? And they said

803
00:44:33,280 --> 00:44:35,080
Speaker 1: there's no one there. They called the hospital, there's no

804
00:44:35,160 --> 00:44:37,759
Speaker 1: one there. So he as these guys show up and

805
00:44:37,760 --> 00:44:40,440
Speaker 1: they turn their collars up and the guy actually urinates

806
00:44:40,760 --> 00:44:44,120
Speaker 1: in his pants because the other family came by and

807
00:44:44,160 --> 00:44:46,359
Speaker 1: they see two guys standing outside. They go, oh boy,

808
00:44:46,440 --> 00:44:48,640
Speaker 1: it must be a lot of protection. They move on.

809
00:44:49,360 --> 00:44:51,640
Speaker 1: So I show up deep and I said to the manager,

810
00:44:51,680 --> 00:44:54,440
Speaker 1: this is our team. This is the team. This is

811
00:44:54,760 --> 00:44:56,640
Speaker 1: and I don't remember who came actually at an intern

812
00:44:56,760 --> 00:44:59,440
Speaker 1: and my son brought like five five six friends and

813
00:44:59,560 --> 00:45:04,040
Speaker 1: me and and Chris. And it was an interesting night

814
00:45:04,080 --> 00:45:07,200
Speaker 1: because everybody left. The major labels who had flown this

815
00:45:07,280 --> 00:45:10,120
Speaker 1: guy in, they all leave except for one A and

816
00:45:10,280 --> 00:45:13,320
Speaker 1: R guy from Jive Records. He stayed Jeff Finster I

817
00:45:13,360 --> 00:45:17,080
Speaker 1: think was his name. But everybody leaves, and I said, wow.

818
00:45:17,520 --> 00:45:19,800
Speaker 1: So the next day the major labels have the meetings,

819
00:45:20,440 --> 00:45:21,799
Speaker 1: and I don't want to make fun of people. They

820
00:45:21,960 --> 00:45:24,600
Speaker 1: really messed up with this guy, though, So I flew

821
00:45:24,640 --> 00:45:28,520
Speaker 1: to San Francisco, met the artist there, like Jerry Maguire,

822
00:45:28,560 --> 00:45:31,480
Speaker 1: and I said, listen, this is it. It's You'll be

823
00:45:31,520 --> 00:45:33,120
Speaker 1: the biggest artist in the label. You would be the

824
00:45:33,160 --> 00:45:35,279
Speaker 1: only artist in the label. And I'll kill for you,

825
00:45:35,440 --> 00:45:37,080
Speaker 1: I'll name for you. We sold two and a half

826
00:45:37,160 --> 00:45:41,200
Speaker 1: million copies of that record Fall for You by Secondhand Serenade,

827
00:45:41,600 --> 00:45:45,279
Speaker 1: and it was distributed by Warners and Leo Cohen was

828
00:45:45,400 --> 00:45:47,480
Speaker 1: the head of the company at the time, and I

829
00:45:47,560 --> 00:45:49,120
Speaker 1: made a one record deal with them. That was it,

830
00:45:49,719 --> 00:45:52,399
Speaker 1: and then I and then we joined Sony Read after

831
00:45:52,520 --> 00:45:55,160
Speaker 1: that and really built the company. And then that's when

832
00:45:55,200 --> 00:46:00,520
Speaker 1: the days of Justin Azuka and then Phoenix. Okay, so

833
00:46:00,719 --> 00:46:04,360
Speaker 1: Phoenix had had a career that had sputtered in America.

834
00:46:04,719 --> 00:46:07,920
Speaker 1: What made you believe this would be a hit? The record?

835
00:46:08,440 --> 00:46:11,759
Speaker 1: It was the record it was. We did not want

836
00:46:11,760 --> 00:46:14,799
Speaker 1: to sign anybody with the past, because I had had

837
00:46:14,800 --> 00:46:16,600
Speaker 1: a lot of that at Artemis, and I wanted fresh,

838
00:46:17,360 --> 00:46:20,640
Speaker 1: I wanted the best. I wanted international, left of center

839
00:46:21,200 --> 00:46:23,920
Speaker 1: inspired artists. So they checked a lot of boxes. The

840
00:46:23,960 --> 00:46:25,440
Speaker 1: only thing is they had a track record. They had

841
00:46:25,480 --> 00:46:29,320
Speaker 1: three records released through E M I Corporate and the

842
00:46:29,440 --> 00:46:32,640
Speaker 1: sales were always twenty nine thousand, thirty thousand, thirty one

843
00:46:32,719 --> 00:46:36,560
Speaker 1: thousand albums. That was it. But the record. I brought

844
00:46:36,600 --> 00:46:38,319
Speaker 1: it back to the company. Now we were like five

845
00:46:38,360 --> 00:46:41,360
Speaker 1: people in the company and it was one and it

846
00:46:41,560 --> 00:46:45,480
Speaker 1: was list of Mania and it was it just was

847
00:46:45,560 --> 00:46:48,960
Speaker 1: the best record I had heard in years. And I

848
00:46:49,040 --> 00:46:51,440
Speaker 1: flew to Paris to meet them and told them what

849
00:46:51,520 --> 00:46:55,480
Speaker 1: they need to do to make it. And at that meeting,

850
00:46:55,520 --> 00:46:57,040
Speaker 1: I said, you gotta get rid of a few things.

851
00:46:57,680 --> 00:46:59,320
Speaker 1: We're not going to be French. We're not going to

852
00:46:59,400 --> 00:47:01,000
Speaker 1: be fashion, we're not gonna be pop, and we're not

853
00:47:01,040 --> 00:47:04,440
Speaker 1: gonna be dance. It's gonna be one word rock. And

854
00:47:04,520 --> 00:47:08,120
Speaker 1: they said great, and uh, we signed the deal like

855
00:47:08,440 --> 00:47:13,120
Speaker 1: two days later, and they I think they changed rock

856
00:47:13,280 --> 00:47:17,040
Speaker 1: radio that band, because no one had heard music like that.

857
00:47:17,719 --> 00:47:19,920
Speaker 1: I think a lot of the records we've had have

858
00:47:20,200 --> 00:47:23,799
Speaker 1: changed the sound of radio because is what I would

859
00:47:23,880 --> 00:47:27,160
Speaker 1: prefer to sign, something that's not commercial, that that doesn't

860
00:47:27,160 --> 00:47:29,239
Speaker 1: sound like the radio. And I think what gives us

861
00:47:29,239 --> 00:47:31,319
Speaker 1: an advantage over the major labels is that they try

862
00:47:31,320 --> 00:47:34,400
Speaker 1: and sign something that sounds like everything else, produced by

863
00:47:34,440 --> 00:47:37,239
Speaker 1: the same people, written by the same songwriters who are

864
00:47:37,280 --> 00:47:40,360
Speaker 1: based in like a five block radius and Los Angeles.

865
00:47:40,640 --> 00:47:44,080
Speaker 1: We this was produced of a band from Versailles, France,

866
00:47:45,000 --> 00:47:49,000
Speaker 1: mixed by a guy from Paris, and we took it

867
00:47:49,120 --> 00:47:52,000
Speaker 1: out there and it took fifty eight weeks to break

868
00:47:52,040 --> 00:47:55,520
Speaker 1: it the first song, and then you know, we're platinum

869
00:47:55,520 --> 00:47:58,200
Speaker 1: and where the Grammys and and then Mumford and Sons.

870
00:47:58,800 --> 00:48:01,239
Speaker 1: So Two Door Cinema Club came next, and the Temper

871
00:48:01,320 --> 00:48:05,280
Speaker 1: Trap came after that, and then there was a band

872
00:48:05,560 --> 00:48:08,719
Speaker 1: touring with the Temper Trap opening for them in Australia

873
00:48:10,080 --> 00:48:11,920
Speaker 1: and I went to see the Temper Trap and the

874
00:48:11,960 --> 00:48:15,160
Speaker 1: band that opened for them in front of literally eighteen

875
00:48:15,200 --> 00:48:18,400
Speaker 1: to twenty people was Mumford and Sons. And I had

876
00:48:18,480 --> 00:48:23,239
Speaker 1: never seen anything that passionate, that emotional, because it just

877
00:48:23,360 --> 00:48:26,440
Speaker 1: it just transported me and I freaked out and no

878
00:48:26,520 --> 00:48:28,640
Speaker 1: one liked it. The company that went in the company

879
00:48:28,719 --> 00:48:30,960
Speaker 1: liked it, and the industry didn't really care too much

880
00:48:30,960 --> 00:48:34,960
Speaker 1: about it. So I flew to London three days later

881
00:48:35,120 --> 00:48:38,440
Speaker 1: just to see in my own mind was I romanticizing?

882
00:48:38,640 --> 00:48:41,200
Speaker 1: Was I right? Was I wrong? Was it as good

883
00:48:41,239 --> 00:48:43,080
Speaker 1: as I thought? And again they opened for Temper Trap,

884
00:48:43,120 --> 00:48:45,960
Speaker 1: They were better, They were better, and it was an

885
00:48:46,000 --> 00:48:49,280
Speaker 1: easy deal. Manager was terrific. It was still good friends

886
00:48:49,960 --> 00:48:52,920
Speaker 1: and that was not an easy record either. That That

887
00:48:53,040 --> 00:48:56,920
Speaker 1: record came out and you know, it landed and didn't

888
00:48:56,920 --> 00:48:58,840
Speaker 1: do so well at the beginning until a couple of

889
00:48:58,920 --> 00:49:05,719
Speaker 1: radio stations start a playing it. More of my conversation

890
00:49:05,840 --> 00:49:13,080
Speaker 1: with executive Daniel Glass in a moment. If you like

891
00:49:13,239 --> 00:49:15,920
Speaker 1: the podcast, please go to left stufs dot com and

892
00:49:16,000 --> 00:49:19,280
Speaker 1: sign up for the newsletter comes out once twice timetimes

893
00:49:19,360 --> 00:49:21,680
Speaker 1: even three times a day to keep up on my

894
00:49:21,880 --> 00:49:25,400
Speaker 1: story in the world at large. Now let's continue our

895
00:49:25,480 --> 00:49:30,880
Speaker 1: conversation with Daniel Glass of Glass Node Records. Okay, so

896
00:49:30,960 --> 00:49:34,120
Speaker 1: let's jump to today, and today's marketplaces certainly changed from

897
00:49:34,160 --> 00:49:36,640
Speaker 1: what it was in the nineties and even ten years ago.

898
00:49:37,239 --> 00:49:40,440
Speaker 1: So if a how do you signed a band today?

899
00:49:41,160 --> 00:49:43,880
Speaker 1: Do you get in bidding wars with other labels? Do

900
00:49:43,960 --> 00:49:46,160
Speaker 1: you find things that other labels don't want you get

901
00:49:46,200 --> 00:49:50,200
Speaker 1: in early? What what ultimately happens we get in early?

902
00:49:51,120 --> 00:49:53,239
Speaker 1: UM We've been in one bidding war in the history

903
00:49:53,280 --> 00:49:55,640
Speaker 1: of the company, and I regret it. We actually made

904
00:49:55,680 --> 00:49:57,320
Speaker 1: money on the deal, but I regret it because it

905
00:49:57,680 --> 00:50:00,600
Speaker 1: lost the essence of why you It goes back to

906
00:50:00,680 --> 00:50:02,000
Speaker 1: what you said, why would you want to be on

907
00:50:02,080 --> 00:50:07,600
Speaker 1: this label? And when we started to audition for this artist, UM,

908
00:50:07,800 --> 00:50:11,200
Speaker 1: it lost the essence and the taste for me. And

909
00:50:11,280 --> 00:50:15,480
Speaker 1: I still resent that battle. And I think marriages are

910
00:50:15,640 --> 00:50:18,840
Speaker 1: very indicative of the courtship and the engagement, and I

911
00:50:19,400 --> 00:50:23,399
Speaker 1: still think there's a chronic issue in that engagement which

912
00:50:23,440 --> 00:50:26,239
Speaker 1: subsequently affected the band's career after we had the big

913
00:50:26,320 --> 00:50:30,239
Speaker 1: monster hit. We have to be early, we have to

914
00:50:30,320 --> 00:50:32,800
Speaker 1: be very early, and we have to get on it.

915
00:50:33,560 --> 00:50:37,400
Speaker 1: UM we really want to see the live performance. I

916
00:50:37,520 --> 00:50:41,839
Speaker 1: think the artists that we've signed has not been done

917
00:50:41,880 --> 00:50:46,040
Speaker 1: through research or a buzz or some metric and data.

918
00:50:46,360 --> 00:50:49,319
Speaker 1: It's been through hearing the music and then seeing it live.

919
00:50:49,880 --> 00:50:52,480
Speaker 1: Very different than most labels. Most labels do not sign

920
00:50:52,520 --> 00:50:56,400
Speaker 1: that way. Most labels sign, especially major labels, um, social

921
00:50:56,480 --> 00:51:00,279
Speaker 1: media numbers, streaming numbers, UM, that's not how we do it.

922
00:51:01,160 --> 00:51:07,080
Speaker 1: So our current artist that's rising up now, Jade Bird,

923
00:51:07,560 --> 00:51:10,759
Speaker 1: the manager came in and played her and I felt

924
00:51:10,800 --> 00:51:12,480
Speaker 1: the same way about her that I felt about Mumford

925
00:51:12,520 --> 00:51:15,799
Speaker 1: and Sons. This is an artist for the ages. How

926
00:51:15,920 --> 00:51:18,200
Speaker 1: is she doing this at nineteen years old? Where is

927
00:51:18,239 --> 00:51:20,879
Speaker 1: she getting this understanding of folk and blues and rock

928
00:51:21,360 --> 00:51:25,160
Speaker 1: and country? And I met her, and I met perhaps

929
00:51:25,239 --> 00:51:28,440
Speaker 1: the most ambitious person I had met in years. So

930
00:51:28,560 --> 00:51:31,320
Speaker 1: she started checking off these boxes in my head and

931
00:51:31,360 --> 00:51:33,560
Speaker 1: I knew this was going to be that she was

932
00:51:33,600 --> 00:51:35,200
Speaker 1: going to be one of the biggest artists in the world.

933
00:51:35,200 --> 00:51:37,080
Speaker 1: And it may take five years, it may take seven years.

934
00:51:37,080 --> 00:51:42,560
Speaker 1: I don't really care. But we were early, and I

935
00:51:42,640 --> 00:51:47,120
Speaker 1: don't know if anybody else wanted her um, And it

936
00:51:47,200 --> 00:51:49,719
Speaker 1: doesn't matter to me if anybody else wanted her. It

937
00:51:49,800 --> 00:51:53,239
Speaker 1: really doesn't. I think those are foolish conversations. Should have,

938
00:51:53,280 --> 00:51:55,440
Speaker 1: would have, could have. Every time we have a success,

939
00:51:55,480 --> 00:51:57,799
Speaker 1: I meet someone in the hallway of a conference who

940
00:51:57,920 --> 00:51:59,440
Speaker 1: says to me, I could have done that, or I

941
00:51:59,480 --> 00:52:01,840
Speaker 1: knew about my boss just wouldn't let me. I just

942
00:52:01,920 --> 00:52:03,880
Speaker 1: walk away, like I said, why don't you do it?

943
00:52:03,960 --> 00:52:07,960
Speaker 1: If you if you know about it. Um, so you

944
00:52:08,040 --> 00:52:10,840
Speaker 1: have to be early. I think the live performance and

945
00:52:10,880 --> 00:52:16,560
Speaker 1: the songs are the key to us. UM. Lawyers don't

946
00:52:16,560 --> 00:52:18,600
Speaker 1: play a big part and anymore for me. You know,

947
00:52:18,680 --> 00:52:21,720
Speaker 1: if the used to be in the eighties early nineties,

948
00:52:21,760 --> 00:52:23,239
Speaker 1: the lawyer would have a lot to do with it.

949
00:52:23,360 --> 00:52:26,160
Speaker 1: You know, they gets you on the phone and tell

950
00:52:26,200 --> 00:52:29,279
Speaker 1: you why they wind you up. But not anymore. UM.

951
00:52:29,520 --> 00:52:32,160
Speaker 1: It really comes from different sources. We tend to lean

952
00:52:32,200 --> 00:52:34,759
Speaker 1: towards international music at our company. I think if we

953
00:52:34,800 --> 00:52:37,680
Speaker 1: have a prejudice, we we kind of like things that

954
00:52:37,760 --> 00:52:41,560
Speaker 1: are outside of America. UM, and those work really well.

955
00:52:41,680 --> 00:52:44,399
Speaker 1: But we do well with left of center music people here.

956
00:52:44,440 --> 00:52:46,480
Speaker 1: But let's stop there. If we look at the Spotify

957
00:52:46,600 --> 00:52:49,360
Speaker 1: top fifty, it's almost completely urban and most of the

958
00:52:49,400 --> 00:52:52,520
Speaker 1: pop records of the last year have failed Katie Perry,

959
00:52:52,760 --> 00:52:57,200
Speaker 1: Taylor Swift, et cetera. And in addition, radio is pretty

960
00:52:57,280 --> 00:53:00,840
Speaker 1: much all urban and the other labels are not signing

961
00:53:00,880 --> 00:53:04,279
Speaker 1: anything other than me to acts. How are you having

962
00:53:04,400 --> 00:53:07,600
Speaker 1: success with the records that don't sound like everybody else's.

963
00:53:09,760 --> 00:53:14,680
Speaker 1: About two years ago we doubled down on spending spending

964
00:53:14,719 --> 00:53:18,200
Speaker 1: more money on making records, making better records, and almost

965
00:53:18,239 --> 00:53:22,880
Speaker 1: went on a freeze of releasing records. So like Churches,

966
00:53:22,960 --> 00:53:24,880
Speaker 1: is a good example of a band that competes and

967
00:53:25,000 --> 00:53:27,680
Speaker 1: makes a lot of money. They make money through licensing,

968
00:53:27,840 --> 00:53:33,000
Speaker 1: sinc sales, streaming. The concert revenue is fantastic. So that's

969
00:53:33,040 --> 00:53:35,439
Speaker 1: a band that's keeping up with the times and doing

970
00:53:35,560 --> 00:53:39,400
Speaker 1: very very well. Um, I think Jade ultimately goes to

971
00:53:39,480 --> 00:53:42,840
Speaker 1: the top of it. When we had our success with

972
00:53:42,960 --> 00:53:47,600
Speaker 1: Childish Gambino, he wasn't hip hop, he wasn't wrap. It

973
00:53:47,760 --> 00:53:50,880
Speaker 1: was just great soul music and we knew we had something.

974
00:53:52,000 --> 00:53:55,120
Speaker 1: We stayed with it as seventy something weeks. So we

975
00:53:55,200 --> 00:53:57,000
Speaker 1: can do that, and I think that's how we compete.

976
00:53:57,440 --> 00:53:59,239
Speaker 1: And you look at our streaming we did. We did

977
00:53:59,360 --> 00:54:02,799
Speaker 1: four point seven million streams last week, a red Bone

978
00:54:02,840 --> 00:54:07,279
Speaker 1: six point seven million on the album last week and

979
00:54:07,360 --> 00:54:09,759
Speaker 1: when he goes on SNL this week, it's gonna go

980
00:54:09,880 --> 00:54:16,120
Speaker 1: crazy again. So two things, good catalog and signed, great

981
00:54:16,200 --> 00:54:19,560
Speaker 1: music and stay with it. Now are you spending on marketing?

982
00:54:19,600 --> 00:54:22,600
Speaker 1: Who's spending on the actual records? You said you'd double

983
00:54:22,640 --> 00:54:25,680
Speaker 1: down on spending and our most important You know when

984
00:54:25,719 --> 00:54:29,160
Speaker 1: you see Dave Cobb is producing three different projects for

985
00:54:29,239 --> 00:54:31,160
Speaker 1: us right now, it might be the hottest producer in

986
00:54:31,200 --> 00:54:35,399
Speaker 1: the world. Greg Kirsten did eight songs on Churches. Nile

987
00:54:35,440 --> 00:54:37,720
Speaker 1: god Rich is about to do something for us. Paul

988
00:54:37,760 --> 00:54:40,920
Speaker 1: Epworth is working on a record for US, um the

989
00:54:41,080 --> 00:54:44,000
Speaker 1: mixing of the records. The Simone Felice, who just had

990
00:54:44,040 --> 00:54:48,799
Speaker 1: the Luminear success, is working on jade Um. You've got

991
00:54:48,880 --> 00:54:51,279
Speaker 1: to hire the best people. You have to have the

992
00:54:51,360 --> 00:54:53,600
Speaker 1: best of the best of the best. Red One we

993
00:54:53,680 --> 00:54:56,279
Speaker 1: have a hit with him right now with Mansion air Um.

994
00:54:57,040 --> 00:54:59,640
Speaker 1: You know who we're connected because of You know, Troy

995
00:54:59,680 --> 00:55:03,319
Speaker 1: Carter has so much success with Red One and Gaga Um.

996
00:55:05,719 --> 00:55:08,800
Speaker 1: Every day That's all I dwell on is the n R,

997
00:55:08,960 --> 00:55:11,120
Speaker 1: the n R, the n R. Everything else is easy.

998
00:55:11,160 --> 00:55:13,480
Speaker 1: After that, You've got to make better records and you've

999
00:55:13,480 --> 00:55:15,440
Speaker 1: got to have the best songs. You've also told me

1000
00:55:15,480 --> 00:55:18,279
Speaker 1: with certain acts on your label, you told them, if

1001
00:55:18,320 --> 00:55:20,920
Speaker 1: you don't deliver a hit, either stay in the studio

1002
00:55:21,000 --> 00:55:23,200
Speaker 1: and if you want off the label, that's fine. Yeah,

1003
00:55:23,239 --> 00:55:26,160
Speaker 1: we we've That's really it. I mean that that's a

1004
00:55:26,400 --> 00:55:29,520
Speaker 1: that's a kind of a brutal summary. But we're in

1005
00:55:29,600 --> 00:55:31,520
Speaker 1: that bag with like three or four people right now,

1006
00:55:32,040 --> 00:55:35,960
Speaker 1: and three of the four are loving it. They're loving

1007
00:55:36,400 --> 00:55:38,920
Speaker 1: the quote unquote tough love. One of them can handle it,

1008
00:55:39,480 --> 00:55:42,520
Speaker 1: and one of them is going to go. So that's okay, Um,

1009
00:55:43,120 --> 00:55:46,040
Speaker 1: he'll be better off somewhere else. But you you've got

1010
00:55:46,200 --> 00:55:49,520
Speaker 1: to raise the standards because it's just too tough. It's

1011
00:55:49,600 --> 00:55:51,920
Speaker 1: just really, really too tough. You know. I had had

1012
00:55:51,960 --> 00:55:55,440
Speaker 1: a battle with James Hersey two years ago. I was

1013
00:55:55,560 --> 00:55:59,040
Speaker 1: in Berlin with him and he handed his record in

1014
00:55:59,080 --> 00:56:01,080
Speaker 1: and it was good, and then we had this whole

1015
00:56:01,160 --> 00:56:05,000
Speaker 1: fight about the record, and finally he agreed, okay, I'll

1016
00:56:05,040 --> 00:56:07,959
Speaker 1: show you, and he came up with a song called

1017
00:56:08,040 --> 00:56:12,200
Speaker 1: miss You, and Will Hicks produced it and Steve fitz

1018
00:56:12,280 --> 00:56:16,280
Speaker 1: Morris mixed it. You know, that's I produced at Sharon's

1019
00:56:16,320 --> 00:56:19,440
Speaker 1: first record. The other guy did the Stay with Me

1020
00:56:19,640 --> 00:56:25,719
Speaker 1: for Sam Smith and Spotify alone where at nine five

1021
00:56:25,840 --> 00:56:30,319
Speaker 1: million streams on one song. That song, So we gotta

1022
00:56:30,320 --> 00:56:32,400
Speaker 1: beat that song now. But that that that was, that

1023
00:56:32,520 --> 00:56:35,560
Speaker 1: was torture. He's gonna beat it now. He's working on

1024
00:56:35,640 --> 00:56:38,400
Speaker 1: something with terrific producers now. But that was that was

1025
00:56:38,480 --> 00:56:42,520
Speaker 1: a very unpleasant experience. And the only reason I do

1026
00:56:42,680 --> 00:56:45,040
Speaker 1: it is because of my three children. Because I I

1027
00:56:45,200 --> 00:56:49,120
Speaker 1: noticed when you, and I've said this many times, is

1028
00:56:49,239 --> 00:56:54,160
Speaker 1: the indulgences as a father and a mother are not

1029
00:56:54,280 --> 00:56:56,640
Speaker 1: always the best thing. You gotta be able to tell

1030
00:56:56,680 --> 00:57:00,520
Speaker 1: the kids lights out, no no, no in or tonight

1031
00:57:01,560 --> 00:57:03,680
Speaker 1: or take away the phone from them. Well, whatever you

1032
00:57:03,719 --> 00:57:06,680
Speaker 1: have to do as a parent. And uh, I think

1033
00:57:06,800 --> 00:57:08,680
Speaker 1: artists need that. I don't think we give them enough

1034
00:57:08,719 --> 00:57:13,279
Speaker 1: direction and enough expertise and to say to them, because

1035
00:57:13,400 --> 00:57:16,160
Speaker 1: ultimately we all fail. If the records come in and

1036
00:57:16,240 --> 00:57:18,680
Speaker 1: we do it because they need it out by by Coachella,

1037
00:57:19,000 --> 00:57:22,440
Speaker 1: I need it out by Glastonbury or you know my manager,

1038
00:57:23,480 --> 00:57:25,960
Speaker 1: nobody wins. Okay, So let's say you get the James

1039
00:57:26,040 --> 00:57:29,560
Speaker 1: Hersey record. Tell us how you approach the marketing and

1040
00:57:29,640 --> 00:57:32,720
Speaker 1: promotion of that record or a record doesn't have to

1041
00:57:32,760 --> 00:57:35,040
Speaker 1: be that specific record, So James will be handling handing

1042
00:57:35,080 --> 00:57:36,880
Speaker 1: his record and hopefully in the next couple of weeks

1043
00:57:37,000 --> 00:57:39,320
Speaker 1: and it will come out this summer and we'll probably

1044
00:57:39,400 --> 00:57:44,160
Speaker 1: starting in Austria, Germany and the Nordics. I think Spotify

1045
00:57:44,320 --> 00:57:46,760
Speaker 1: will be very key to his record. I mean they

1046
00:57:46,800 --> 00:57:49,760
Speaker 1: were really key that from Denmark and and Stockholm with

1047
00:57:49,840 --> 00:57:51,720
Speaker 1: the people that really got behind him, So we're gonna

1048
00:57:51,760 --> 00:57:54,880
Speaker 1: start there. Um. I probably will get on a plane

1049
00:57:56,280 --> 00:57:59,400
Speaker 1: with our head of international and go to see people

1050
00:57:59,520 --> 00:58:02,560
Speaker 1: in St. Coleman, Berlin and started there. I think the

1051
00:58:02,680 --> 00:58:05,920
Speaker 1: UK would be next, um, and hopefully the fuse will

1052
00:58:05,960 --> 00:58:09,200
Speaker 1: be lit. Sirius XM was very helpful in the last record,

1053
00:58:10,000 --> 00:58:13,400
Speaker 1: uh and I think that's key. Um. He's got an

1054
00:58:13,440 --> 00:58:16,040
Speaker 1: idea for a video we'll probably want to work with.

1055
00:58:16,520 --> 00:58:18,919
Speaker 1: I think the video wars are gonna start up again

1056
00:58:19,160 --> 00:58:23,480
Speaker 1: between Facebook and and YouTube and Spotify an Apple, and

1057
00:58:23,520 --> 00:58:25,080
Speaker 1: we'll take advantage of that. And I think we'll go

1058
00:58:25,160 --> 00:58:26,560
Speaker 1: to each one of them and say, if you love this,

1059
00:58:26,880 --> 00:58:29,960
Speaker 1: would you like to fund or create a piece of content?

1060
00:58:30,720 --> 00:58:34,440
Speaker 1: And I as an indie, it's nice when they do that. Okay,

1061
00:58:34,520 --> 00:58:36,560
Speaker 1: So when you I know, when you come to l A,

1062
00:58:36,840 --> 00:58:38,520
Speaker 1: you have a meeting with Apple, you have a meeting

1063
00:58:38,560 --> 00:58:42,000
Speaker 1: with everybody involved. What do you tell them? What play

1064
00:58:42,080 --> 00:58:43,800
Speaker 1: the music? I think the main thing is to play

1065
00:58:43,880 --> 00:58:46,360
Speaker 1: the music. We're a company likes to bring the artist in.

1066
00:58:46,920 --> 00:58:49,360
Speaker 1: And when you have a label that has people as

1067
00:58:49,520 --> 00:58:54,800
Speaker 1: as magnetic, as charismatic, as inspirational as Marcus Mumford and

1068
00:58:54,920 --> 00:58:59,360
Speaker 1: his guys and you know, guys from Phoenix, Aurora, um Jade,

1069
00:59:00,040 --> 00:59:01,880
Speaker 1: you're better off bringing the artists with you. Let them

1070
00:59:01,920 --> 00:59:04,760
Speaker 1: tell the story of how the record was made. You know,

1071
00:59:04,880 --> 00:59:07,480
Speaker 1: no one better than Lauren Mayberry of Churches to tell

1072
00:59:07,560 --> 00:59:10,800
Speaker 1: our story or even play a few songs. So I

1073
00:59:10,920 --> 00:59:13,720
Speaker 1: prefer that meeting rather than some record company, you know,

1074
00:59:13,960 --> 00:59:15,520
Speaker 1: reading off a piece of paper that's going to be

1075
00:59:15,520 --> 00:59:18,320
Speaker 1: a smash. So the better to tell how the record

1076
00:59:18,400 --> 00:59:21,720
Speaker 1: was made. But we'll see everybody. We'll see everybody at

1077
00:59:21,760 --> 00:59:25,080
Speaker 1: i Heeart and Cumulus and and and to Calm and

1078
00:59:26,360 --> 00:59:30,400
Speaker 1: Apple and Pandora. We we go see everybody Spotify, um

1079
00:59:31,240 --> 00:59:33,680
Speaker 1: we'll tell us about the playlist wars, how do they

1080
00:59:33,720 --> 00:59:39,120
Speaker 1: affect you or how do you enter that system? Relationships?

1081
00:59:40,040 --> 00:59:44,480
Speaker 1: You know, somebody asked me, I've forgot the restaurant We

1082
00:59:44,520 --> 00:59:46,800
Speaker 1: went to the other day, Oh, I know where I was.

1083
00:59:46,840 --> 00:59:49,360
Speaker 1: I was. I was with my wife somewhere and we

1084
00:59:49,480 --> 00:59:51,920
Speaker 1: wanted to get a table at a restaurant. And afterwards

1085
00:59:51,960 --> 00:59:54,440
Speaker 1: there's a movie screening. So we got the table we

1086
00:59:54,520 --> 00:59:59,400
Speaker 1: wanted and the movie theater. The policy is no reserve seats,

1087
01:00:00,200 --> 01:00:04,200
Speaker 1: and we get into the theater and the the waiter said,

1088
01:00:04,960 --> 01:00:07,120
Speaker 1: would you like your dessert in the theater. I said,

1089
01:00:07,200 --> 01:00:09,120
Speaker 1: that'd be great, you could do that. He says, absolutely.

1090
01:00:10,000 --> 01:00:12,800
Speaker 1: So we get to the theater and almost embarrassingly, there's

1091
01:00:12,880 --> 01:00:17,840
Speaker 1: three seats reserve center center. And I called someone in

1092
01:00:17,880 --> 01:00:20,280
Speaker 1: my company who told me it's all about the algorithm.

1093
01:00:21,080 --> 01:00:23,200
Speaker 1: I said, was that about the algorithm or was that

1094
01:00:23,240 --> 01:00:27,240
Speaker 1: about being nice and going back and being you know?

1095
01:00:27,640 --> 01:00:29,640
Speaker 1: It was about a relationship that I had with somebody

1096
01:00:29,880 --> 01:00:33,520
Speaker 1: who said something to somebody. So we got those reserve seats.

1097
01:00:33,520 --> 01:00:35,440
Speaker 1: And I think it's the same thing with this force,

1098
01:00:36,080 --> 01:00:38,040
Speaker 1: that it's all about the algorithm and it's all about

1099
01:00:38,120 --> 01:00:42,800
Speaker 1: the the data. I think it's about people. It's about people,

1100
01:00:43,240 --> 01:00:49,120
Speaker 1: somebody behind the technology. My son, my youngest son, worked

1101
01:00:49,120 --> 01:00:51,960
Speaker 1: at Spotify for two summers. One summer he coded and

1102
01:00:52,040 --> 01:00:56,400
Speaker 1: once he worked on an artist development relations thing. They

1103
01:00:56,440 --> 01:01:00,320
Speaker 1: were people doing the engineering. People with a hard beat

1104
01:01:00,520 --> 01:01:03,480
Speaker 1: and a pulse and a soul. The same people run

1105
01:01:03,560 --> 01:01:06,960
Speaker 1: the playlist, the same people that WBLS and W A

1106
01:01:07,040 --> 01:01:10,400
Speaker 1: B C and K four C algorithms do kick in.

1107
01:01:10,960 --> 01:01:13,320
Speaker 1: You can't keep a stiff up. And I actually like

1108
01:01:13,480 --> 01:01:16,280
Speaker 1: that that the playing field gets level for independence when

1109
01:01:16,320 --> 01:01:18,440
Speaker 1: you get in there. But getting in there is no

1110
01:01:18,600 --> 01:01:21,160
Speaker 1: different than it was in the sixties, in the seventies

1111
01:01:21,640 --> 01:01:24,920
Speaker 1: and and five years ago. So you have to have

1112
01:01:25,280 --> 01:01:29,960
Speaker 1: incredible relationships and know how dominoes work in life. And

1113
01:01:30,080 --> 01:01:32,120
Speaker 1: so let's say you go to Spotify, they agree to

1114
01:01:32,160 --> 01:01:37,160
Speaker 1: go on a record and it doesn't react to me.

1115
01:01:37,600 --> 01:01:40,960
Speaker 1: You have to have patience. If you overshoot and try

1116
01:01:41,040 --> 01:01:43,400
Speaker 1: and get big place for new music Friday, get on

1117
01:01:43,440 --> 01:01:45,520
Speaker 1: the top fifty of this rap Cave or whatever it

1118
01:01:45,600 --> 01:01:48,160
Speaker 1: is the biggest of the big lists, you're setting yourself

1119
01:01:48,280 --> 01:01:51,680
Speaker 1: up for probable failure. I prefer to build slowly. I

1120
01:01:51,720 --> 01:01:54,520
Speaker 1: would prefer to get a focalist, an urban list, and

1121
01:01:54,720 --> 01:01:58,280
Speaker 1: R and B list, a soul list, um, a chill list.

1122
01:01:59,000 --> 01:02:00,800
Speaker 1: It's like my favorite, one of my favorite stations right

1123
01:02:00,800 --> 01:02:05,000
Speaker 1: now is this chill channel on on Serious that's where

1124
01:02:05,040 --> 01:02:08,680
Speaker 1: records start, it's one of the hottest stations, so that

1125
01:02:08,960 --> 01:02:13,800
Speaker 1: leads to all nations, that leads to the Kid Kelly station,

1126
01:02:13,840 --> 01:02:16,880
Speaker 1: the serious Hits one or or Venus. I prefer a

1127
01:02:16,920 --> 01:02:20,480
Speaker 1: building I think you last longer. So we go in

1128
01:02:21,000 --> 01:02:24,200
Speaker 1: with a knowledge of many, many editors in l A

1129
01:02:24,400 --> 01:02:27,120
Speaker 1: and New York and London, different people. It's the same

1130
01:02:27,160 --> 01:02:29,080
Speaker 1: thing with Beats one. The Beats one is a great

1131
01:02:29,200 --> 01:02:32,520
Speaker 1: radio station, a great resource if you only want the

1132
01:02:32,600 --> 01:02:35,640
Speaker 1: world record, which is what most UK executives do. They

1133
01:02:35,680 --> 01:02:37,600
Speaker 1: want one play on any Mac and then what one

1134
01:02:37,640 --> 01:02:40,440
Speaker 1: play on Beats one. They forget about week two through

1135
01:02:40,520 --> 01:02:44,760
Speaker 1: week nineteen. So I'd prefer to build equally with many

1136
01:02:44,880 --> 01:02:48,560
Speaker 1: of the digital players and spread it out with them

1137
01:02:48,680 --> 01:02:52,760
Speaker 1: and build sensibly. Okay, So how important is Serious, very

1138
01:02:53,320 --> 01:02:56,840
Speaker 1: very very very important. It's so well run. They are

1139
01:02:56,960 --> 01:02:59,840
Speaker 1: so good at what they do. You see them at festivals,

1140
01:03:00,000 --> 01:03:02,360
Speaker 1: they get the prominent position. Um. You know, when you

1141
01:03:02,440 --> 01:03:05,360
Speaker 1: know how important serious is when your artists starts selling

1142
01:03:05,400 --> 01:03:08,560
Speaker 1: three tickets and then six tickets, and that you could

1143
01:03:08,560 --> 01:03:11,360
Speaker 1: speak to every club owner and promoter. It's coming from them,

1144
01:03:11,960 --> 01:03:16,800
Speaker 1: country dance, every genre of music that they're great at.

1145
01:03:16,880 --> 01:03:20,400
Speaker 1: It it's it's vital, it's really really well. What is

1146
01:03:20,440 --> 01:03:23,920
Speaker 1: the future of terrestrial radio. I think it's in pretty

1147
01:03:23,920 --> 01:03:27,600
Speaker 1: good hands because you still I think we have at

1148
01:03:27,760 --> 01:03:30,320
Speaker 1: least a generation and a half of people that still

1149
01:03:30,520 --> 01:03:33,280
Speaker 1: push a button in a car. It's still a reflex

1150
01:03:34,000 --> 01:03:35,800
Speaker 1: of a DJ and a button in a car. I

1151
01:03:35,840 --> 01:03:39,320
Speaker 1: think the car is the battle for serious and the car,

1152
01:03:39,560 --> 01:03:42,720
Speaker 1: and for Pandora and for Spotify and for the VR

1153
01:03:43,200 --> 01:03:46,600
Speaker 1: of of the echo. UM. But for now, it's still

1154
01:03:46,600 --> 01:03:49,600
Speaker 1: about radio. And when you have people like Bob Pittman

1155
01:03:50,400 --> 01:03:54,800
Speaker 1: running radio and making it extremely accessible and friendly, I

1156
01:03:54,920 --> 01:03:57,360
Speaker 1: think you're in really, really good shape at radio for now.

1157
01:03:57,400 --> 01:03:59,800
Speaker 1: I know you and I disagree on this. UM. I

1158
01:04:00,040 --> 01:04:03,960
Speaker 1: think radio in tandem with streaming radio just has to

1159
01:04:04,080 --> 01:04:07,240
Speaker 1: play more new music. They're playing it too late. The

1160
01:04:07,360 --> 01:04:11,160
Speaker 1: lag time has gotta gotta stop. Lagtime. I've judged about

1161
01:04:11,200 --> 01:04:14,760
Speaker 1: twenty eight weeks with records. That doesn't make any sense.

1162
01:04:15,000 --> 01:04:16,760
Speaker 1: You've got to get it down to five or six

1163
01:04:17,160 --> 01:04:20,280
Speaker 1: if they can do that, and spot records earlier, because

1164
01:04:20,320 --> 01:04:23,000
Speaker 1: young people will abandon them. The two to nine year

1165
01:04:23,040 --> 01:04:26,080
Speaker 1: olds that are growing up now, we'll never listen to

1166
01:04:26,240 --> 01:04:29,280
Speaker 1: radio if they can't get new music and discover music there.

1167
01:04:29,680 --> 01:04:32,240
Speaker 1: So it's like the sixteen to seventeen year old kids

1168
01:04:32,280 --> 01:04:36,320
Speaker 1: in Parkland High School. They're gonna vote in a few months,

1169
01:04:37,640 --> 01:04:41,000
Speaker 1: and they're gonna vote with their heart and mind and conscious.

1170
01:04:41,080 --> 01:04:43,880
Speaker 1: They're gonna take over this country. They're gonna do something

1171
01:04:44,440 --> 01:04:47,200
Speaker 1: very similar to the sixties. So I think this generation

1172
01:04:47,320 --> 01:04:51,040
Speaker 1: coming up, the two year olds know how to use

1173
01:04:51,080 --> 01:04:54,840
Speaker 1: alexa and they're gonna want to hear their music. Now

1174
01:04:54,960 --> 01:04:57,760
Speaker 1: they're not gonna want to hear commercials. So radio has

1175
01:04:57,800 --> 01:05:01,560
Speaker 1: got to start thinking about this new generation. If they don't,

1176
01:05:01,760 --> 01:05:03,920
Speaker 1: they're going to alienate people and no one's gonna listen

1177
01:05:03,920 --> 01:05:06,400
Speaker 1: to the radio. But for now, I think when you

1178
01:05:06,560 --> 01:05:09,960
Speaker 1: have real, real radio people running it, and I think

1179
01:05:10,000 --> 01:05:11,720
Speaker 1: I heart's a good example. I just came back from

1180
01:05:11,760 --> 01:05:15,320
Speaker 1: Australia and you know how important Triple J is to

1181
01:05:15,480 --> 01:05:19,360
Speaker 1: that market. Uh. I think radio is still fine and

1182
01:05:19,560 --> 01:05:23,200
Speaker 1: and it's every manager I meet with they want to

1183
01:05:23,240 --> 01:05:25,480
Speaker 1: be on the radio. They want to be on the radio.

1184
01:05:25,640 --> 01:05:28,040
Speaker 1: And I think when you speak to a concert venue

1185
01:05:28,080 --> 01:05:33,160
Speaker 1: owner and you speak to a a festival person, they

1186
01:05:33,240 --> 01:05:35,920
Speaker 1: talk about radio and they want to see the amount

1187
01:05:35,920 --> 01:05:37,760
Speaker 1: of streams, but they want to hear about radio. I

1188
01:05:37,800 --> 01:05:42,120
Speaker 1: actually think Spotify is excited when radio is in tandem

1189
01:05:42,160 --> 01:05:44,720
Speaker 1: with them. Somehow it's rare that they're in tandem. But

1190
01:05:44,760 --> 01:05:47,920
Speaker 1: we've talked about Spotify. There's a record company how important?

1191
01:05:48,000 --> 01:05:55,080
Speaker 1: Or Amazon and Apple very Uh. Amazon is a secret giant. Uh.

1192
01:05:55,120 --> 01:05:57,400
Speaker 1: They've been great partners with us, with Mumford and Sons,

1193
01:05:57,440 --> 01:06:01,440
Speaker 1: with Jade. There they do exclusive of music. It's it's

1194
01:06:01,480 --> 01:06:07,959
Speaker 1: a very underrated uh ecosystem right now. And every time

1195
01:06:08,200 --> 01:06:11,360
Speaker 1: they open up the voice recognition in a country, it explode.

1196
01:06:11,400 --> 01:06:14,439
Speaker 1: I predict Australia is going to explode. And the fact

1197
01:06:14,480 --> 01:06:18,320
Speaker 1: that Spotify and Pandora and my Heart and Serious are

1198
01:06:18,440 --> 01:06:23,800
Speaker 1: going through their system. And you now have our house

1199
01:06:23,880 --> 01:06:26,680
Speaker 1: thanks to son Nos. We have Sonos in the office

1200
01:06:26,720 --> 01:06:29,680
Speaker 1: and we have Sonos one in our houses. Um And

1201
01:06:29,840 --> 01:06:31,920
Speaker 1: to us, it's the best of everything to go on

1202
01:06:32,040 --> 01:06:34,720
Speaker 1: demand and here our music. Most of my music, I

1203
01:06:34,800 --> 01:06:37,480
Speaker 1: have to say, comes through either Spotify or or Serious

1204
01:06:37,720 --> 01:06:41,400
Speaker 1: um when I when I request an artist. But Amazon

1205
01:06:42,160 --> 01:06:46,320
Speaker 1: is amazing and country music, rock music. I don't think

1206
01:06:46,320 --> 01:06:49,240
Speaker 1: they're dominant in hip hop music. I think SoundCloud and

1207
01:06:49,840 --> 01:06:52,760
Speaker 1: in Spotify and Apple or Apple, I think it is

1208
01:06:52,760 --> 01:06:55,880
Speaker 1: getting better and better and better every day. You finally

1209
01:06:56,080 --> 01:07:00,160
Speaker 1: feel them connecting the different stylos there. I think had

1210
01:07:00,160 --> 01:07:03,280
Speaker 1: a lot of issues. Um, but when they they could

1211
01:07:03,320 --> 01:07:05,960
Speaker 1: exploit that radio station, I think we're in for in

1212
01:07:06,040 --> 01:07:08,640
Speaker 1: for a treat. I think Beats one is just this

1213
01:07:09,360 --> 01:07:17,320
Speaker 1: amazing radio station that needs more listeners. More Daniel glast

1214
01:07:17,360 --> 01:07:25,080
Speaker 1: wisdom after this break. I hope you're enjoying this episode

1215
01:07:25,080 --> 01:07:27,600
Speaker 1: of the Bob Left Sets podcast. If you want to

1216
01:07:27,680 --> 01:07:30,400
Speaker 1: hear sound bites or check out videos and photos of

1217
01:07:30,440 --> 01:07:33,960
Speaker 1: our guests, go to at tune in on Twitter, Facebook,

1218
01:07:34,040 --> 01:07:38,560
Speaker 1: and Instagram. Welcome back to my conversation with Daniel Glass.

1219
01:07:38,960 --> 01:07:41,040
Speaker 1: Now we're going to throw it to the audience and

1220
01:07:41,160 --> 01:07:44,960
Speaker 1: see what they have to ask. What what metrics do

1221
01:07:45,040 --> 01:07:48,280
Speaker 1: you currently use to gauge the success of developing artists

1222
01:07:48,320 --> 01:07:52,200
Speaker 1: that you're working with. Streaming is the easiest and quickest

1223
01:07:52,880 --> 01:07:55,800
Speaker 1: for us. UM. We look at a lot of live stuff,

1224
01:07:55,840 --> 01:07:59,400
Speaker 1: though we have a touring department, and we really feel

1225
01:08:00,120 --> 01:08:02,320
Speaker 1: that if you build it, they come. When when when

1226
01:08:02,360 --> 01:08:06,200
Speaker 1: ticket sales start going up, we get more excited. Even

1227
01:08:06,280 --> 01:08:08,800
Speaker 1: though it's not really the business warman and we don't

1228
01:08:08,840 --> 01:08:11,920
Speaker 1: really have a piece of most of the artist's live income. Uh,

1229
01:08:12,160 --> 01:08:16,080
Speaker 1: so I would say streaming numbers first, and then uh,

1230
01:08:18,040 --> 01:08:21,400
Speaker 1: I think shazam Is is good in a lot of

1231
01:08:21,439 --> 01:08:24,240
Speaker 1: ways in different markets. We like that. I think that's

1232
01:08:24,240 --> 01:08:29,160
Speaker 1: a very active participant. But I would say ticket numbers

1233
01:08:29,280 --> 01:08:32,040
Speaker 1: is really important for us, and we go to that.

1234
01:08:32,120 --> 01:08:34,040
Speaker 1: We go to the shows and we we we watch

1235
01:08:34,120 --> 01:08:37,280
Speaker 1: and we see who's reacting. We're on this Alternative Nation

1236
01:08:37,360 --> 01:08:40,000
Speaker 1: tour right now with this group Mansion Air, and we're

1237
01:08:40,040 --> 01:08:43,320
Speaker 1: looking at that. So I think that's that's a key.

1238
01:08:43,560 --> 01:08:52,200
Speaker 1: I think streaming numbers. Hi, Daniel John Boyle, UM, So

1239
01:08:53,280 --> 01:08:55,479
Speaker 1: just one quick comment and then a question for you. Um,

1240
01:08:55,920 --> 01:08:58,960
Speaker 1: You've probably been the foremost gentleman I've ever worked with

1241
01:08:59,040 --> 01:09:01,160
Speaker 1: in this business, from when we had you at E.

1242
01:09:01,280 --> 01:09:05,040
Speaker 1: D M. Biz Um, all the way through how you've

1243
01:09:05,479 --> 01:09:08,320
Speaker 1: raised your family. UM. I've become friends with your son Sean,

1244
01:09:08,400 --> 01:09:10,719
Speaker 1: who is becoming a very important person in the business.

1245
01:09:11,040 --> 01:09:14,320
Speaker 1: And so I commend you on that. UM. I think

1246
01:09:14,400 --> 01:09:19,040
Speaker 1: you're somebody that I hope to have those same um,

1247
01:09:20,080 --> 01:09:21,920
Speaker 1: you know, be looked at in the same way down

1248
01:09:21,960 --> 01:09:26,040
Speaker 1: the road Asia. I'm not running Live Nation Japan. Um.

1249
01:09:26,640 --> 01:09:31,439
Speaker 1: The Japanese repertoire is nine. Well, the Japanese music business

1250
01:09:31,560 --> 01:09:35,280
Speaker 1: is Japanese repertoire. By the way, CD sales still dominate

1251
01:09:35,320 --> 01:09:39,240
Speaker 1: in Japan. Um what is and and it's not dissimilar

1252
01:09:39,320 --> 01:09:44,040
Speaker 1: throughout most of Asia, including India? What is your Asian strategy?

1253
01:09:44,520 --> 01:09:48,040
Speaker 1: Do you see Asia as a panacea being in the

1254
01:09:48,120 --> 01:09:51,559
Speaker 1: live music business? I do. But how we break down

1255
01:09:51,640 --> 01:09:54,519
Speaker 1: these walls and get further exposure for Western acts I

1256
01:09:54,560 --> 01:09:58,000
Speaker 1: think is our challenge. So streaming is a key. I'll

1257
01:09:58,040 --> 01:10:00,320
Speaker 1: answer you a question in a sort of a semi circle.

1258
01:10:00,920 --> 01:10:05,439
Speaker 1: I started noticing our artists going to Lallapalooza in different

1259
01:10:05,479 --> 01:10:09,280
Speaker 1: places that Live Nation owns in South America, and I

1260
01:10:09,360 --> 01:10:12,240
Speaker 1: looked at streaming numbers of our artists and the number

1261
01:10:12,280 --> 01:10:16,360
Speaker 1: to market. The number three markets were Brazil where Mexico

1262
01:10:16,600 --> 01:10:19,720
Speaker 1: were Chili, and I was like, whoa, Now I know

1263
01:10:19,840 --> 01:10:22,160
Speaker 1: where they're going down there, and the Android phone is

1264
01:10:22,200 --> 01:10:25,120
Speaker 1: bigger than anything in those markets. So I started looking

1265
01:10:25,160 --> 01:10:27,920
Speaker 1: at the streaming numbers there. Then I see and I

1266
01:10:28,240 --> 01:10:30,280
Speaker 1: called DANIELCT the day he made the deal with ten Cent.

1267
01:10:30,360 --> 01:10:32,799
Speaker 1: I said, that's brilliant to throw in with the biggest

1268
01:10:33,160 --> 01:10:37,200
Speaker 1: streaming person there. So I think that the ten Cent

1269
01:10:38,200 --> 01:10:41,680
Speaker 1: investment the reverse or reciprocal, you call it investment. There

1270
01:10:41,800 --> 01:10:44,519
Speaker 1: is is my is going to create a lot of waves.

1271
01:10:44,840 --> 01:10:48,240
Speaker 1: I think India is going to go. I'm very encouraged

1272
01:10:48,240 --> 01:10:51,519
Speaker 1: about Japan only because I followed Germany very closely. That

1273
01:10:51,640 --> 01:10:55,080
Speaker 1: has been a physical market, that has been a domestic market,

1274
01:10:55,280 --> 01:10:58,679
Speaker 1: that has been a CD market, and it's changing. It's

1275
01:10:58,800 --> 01:11:05,240
Speaker 1: finally changed slowly to a streaming market. Uh. I believe

1276
01:11:05,360 --> 01:11:08,439
Speaker 1: if we could penetrate streaming in Japan. They just don't

1277
01:11:08,479 --> 01:11:11,000
Speaker 1: know about the music. We went through an era I

1278
01:11:11,040 --> 01:11:14,200
Speaker 1: guess it peaked with Michael Jackson where it was American pop,

1279
01:11:15,000 --> 01:11:16,839
Speaker 1: and then we did a terrible job as a business

1280
01:11:17,120 --> 01:11:20,200
Speaker 1: sending artists there. Um. We still send artists to Japan.

1281
01:11:20,280 --> 01:11:22,560
Speaker 1: We send churches that we said Phoenix just left a

1282
01:11:22,640 --> 01:11:24,800
Speaker 1: few days ago, and they they're in Beijing actually at

1283
01:11:24,800 --> 01:11:31,880
Speaker 1: the Great Wall um yesterday. So managers in working with

1284
01:11:32,000 --> 01:11:34,840
Speaker 1: companies like yours have to make the investment to go

1285
01:11:36,000 --> 01:11:39,880
Speaker 1: that's probably number one, and then go back again, and

1286
01:11:40,000 --> 01:11:42,160
Speaker 1: then go back again. You can't dilude it to we

1287
01:11:42,200 --> 01:11:45,240
Speaker 1: can't go everywhere. So I really believe that we come

1288
01:11:45,280 --> 01:11:47,800
Speaker 1: back to this conference in two years, we're gonna be

1289
01:11:47,840 --> 01:11:51,679
Speaker 1: going I mean seven months, will see South America, We'll

1290
01:11:51,800 --> 01:11:54,960
Speaker 1: see India, will see China, and I do believe there's

1291
01:11:54,960 --> 01:11:57,080
Speaker 1: going to be a change in Japan. I do believe

1292
01:11:57,120 --> 01:12:01,840
Speaker 1: the phone and the streaming Spotify, A bowl will be there. Um.

1293
01:12:02,040 --> 01:12:04,720
Speaker 1: It could be a third service though, because we didn't

1294
01:12:04,720 --> 01:12:07,679
Speaker 1: see ten cent coming, and it might be a different

1295
01:12:07,760 --> 01:12:10,960
Speaker 1: service because the nationalism, the xenophobia, you know, that could

1296
01:12:11,000 --> 01:12:14,600
Speaker 1: take over. That could be a deezer or something like

1297
01:12:14,720 --> 01:12:17,640
Speaker 1: that in that market. I'm very encouraged though, because of

1298
01:12:17,720 --> 01:12:21,240
Speaker 1: what I saw in South America, Mexico and in in Germany.

1299
01:12:22,280 --> 01:12:25,760
Speaker 1: Just one question. We've also been talking about Chance the

1300
01:12:25,880 --> 01:12:29,439
Speaker 1: Rapper and certain acts debating whether or they even need

1301
01:12:29,520 --> 01:12:32,560
Speaker 1: a label. How do you foresee that playing out? So

1302
01:12:32,720 --> 01:12:34,920
Speaker 1: Chance the Rapper I get asked about all the time,

1303
01:12:35,479 --> 01:12:38,960
Speaker 1: and I think that's the aberration, that's the anomaly. Um.

1304
01:12:39,040 --> 01:12:41,519
Speaker 1: He started out with a lot of money. You know,

1305
01:12:41,680 --> 01:12:43,960
Speaker 1: Pat is a friend, a friend of my son more

1306
01:12:44,040 --> 01:12:47,519
Speaker 1: than me. You know, that's a seven figure investment. It's

1307
01:12:47,600 --> 01:12:50,040
Speaker 1: nice to have that. Um, and they did it. And

1308
01:12:50,120 --> 01:12:54,439
Speaker 1: he's a really important artist. He sells stadiums out, he's

1309
01:12:54,479 --> 01:12:58,360
Speaker 1: really really important. I tend to think that most of

1310
01:12:58,439 --> 01:13:01,760
Speaker 1: these artists that are not gonna have a qualified team

1311
01:13:02,479 --> 01:13:05,160
Speaker 1: with them, are not gonna have important catalogs, are not

1312
01:13:05,240 --> 01:13:07,760
Speaker 1: going to have long lasting careers. I think you still

1313
01:13:07,800 --> 01:13:11,240
Speaker 1: need the great agent and the publicity and the licensing sinc.

1314
01:13:11,320 --> 01:13:14,080
Speaker 1: And the artist development nuances to be a bona fide

1315
01:13:14,160 --> 01:13:17,479
Speaker 1: international artist. I still believe in the team. I think

1316
01:13:17,520 --> 01:13:19,720
Speaker 1: the bidding wars of the major labels that are going

1317
01:13:19,760 --> 01:13:21,920
Speaker 1: into there was an eight million dollar deal signed a

1318
01:13:21,960 --> 01:13:24,320
Speaker 1: few weeks ago, then there was a fifteen million dollar

1319
01:13:24,400 --> 01:13:27,560
Speaker 1: deal signed a few weeks ago, and that probably is

1320
01:13:27,600 --> 01:13:31,799
Speaker 1: just coming because of these infusions of cash from Facebook

1321
01:13:31,840 --> 01:13:34,479
Speaker 1: and Spotify that have just come into the vaults of

1322
01:13:34,600 --> 01:13:38,120
Speaker 1: these companies. UM, I still think you need a team.

1323
01:13:39,000 --> 01:13:41,479
Speaker 1: I think there are managers who are doing a very

1324
01:13:41,640 --> 01:13:44,559
Speaker 1: very good job of having promotion and marketing and within

1325
01:13:44,640 --> 01:13:47,400
Speaker 1: their own management company. There's maybe four of those though,

1326
01:13:48,120 --> 01:13:51,599
Speaker 1: uh So I think you're gonna see one maybe every

1327
01:13:51,640 --> 01:13:55,040
Speaker 1: couple of years. We've tried to sign some of them

1328
01:13:55,760 --> 01:13:57,800
Speaker 1: and I'm not I'm not sure how they're gonna do.

1329
01:13:57,960 --> 01:14:00,000
Speaker 1: Those artists. I think still think you needed I would

1330
01:14:00,040 --> 01:14:03,439
Speaker 1: advise somebody to be smart to write your deal the

1331
01:14:03,479 --> 01:14:05,720
Speaker 1: way you want to write it. But you still need

1332
01:14:05,800 --> 01:14:09,040
Speaker 1: a team. I every artist in our company that had success,

1333
01:14:09,640 --> 01:14:12,200
Speaker 1: no way they could have done it without an independent,

1334
01:14:13,960 --> 01:14:17,559
Speaker 1: patient company behind them. Um, and I think they all

1335
01:14:17,640 --> 01:14:20,559
Speaker 1: start out. You know, somebody in the hallway was using

1336
01:14:20,600 --> 01:14:25,080
Speaker 1: the word with me what inspires you? And what's inspirational

1337
01:14:25,080 --> 01:14:27,360
Speaker 1: in that word? You know it could be used so loosely.

1338
01:14:27,800 --> 01:14:31,160
Speaker 1: I think the inspired artists really do need a team,

1339
01:14:31,600 --> 01:14:34,559
Speaker 1: because you know, there was a team behind Kanye West.

1340
01:14:35,200 --> 01:14:36,760
Speaker 1: There was a whole team and he then you get

1341
01:14:36,800 --> 01:14:39,479
Speaker 1: off in fashion and and and dance and ballet and

1342
01:14:39,600 --> 01:14:41,519
Speaker 1: and and all the things that he's been involved in.

1343
01:14:41,640 --> 01:14:43,640
Speaker 1: But it was a very good team behind him and

1344
01:14:43,720 --> 01:14:47,320
Speaker 1: everybody else that's been successful. So I do believe you

1345
01:14:47,400 --> 01:14:50,479
Speaker 1: need a team. Is always going to be a chance though. Okay,

1346
01:14:50,600 --> 01:14:57,479
Speaker 1: other questions, how does a new artist get onto your radar?

1347
01:15:02,479 --> 01:15:05,479
Speaker 1: How many? How many acts have you passed on with me? Daniel?

1348
01:15:07,120 --> 01:15:08,920
Speaker 1: So that's how you get on his radar? You you

1349
01:15:09,000 --> 01:15:11,320
Speaker 1: asked him and then he sends. The manager of Jade

1350
01:15:11,360 --> 01:15:13,439
Speaker 1: Bird is a great guy, Like I put him in

1351
01:15:13,479 --> 01:15:16,360
Speaker 1: that a group of management. He manages Plan b Tom Odell,

1352
01:15:16,640 --> 01:15:20,160
Speaker 1: Liam Gallagher, Jess Glynn, and we had a chance to

1353
01:15:20,280 --> 01:15:24,480
Speaker 1: sign probably all of those, um, and they're all successful,

1354
01:15:24,800 --> 01:15:28,000
Speaker 1: not in America, not in different places. We just didn't

1355
01:15:28,040 --> 01:15:31,799
Speaker 1: feel it. You know, there's a culture in our company,

1356
01:15:32,680 --> 01:15:35,040
Speaker 1: and it's a family culture and it starts with my

1357
01:15:35,160 --> 01:15:39,240
Speaker 1: wife and my children and the people like Bianca. It's

1358
01:15:39,240 --> 01:15:41,519
Speaker 1: a family. So that's one thing. You know, you have

1359
01:15:41,600 --> 01:15:43,639
Speaker 1: to have a culture in your company. And I always

1360
01:15:43,680 --> 01:15:45,200
Speaker 1: look at the artists that would I have them over

1361
01:15:45,400 --> 01:15:48,439
Speaker 1: on Sunday, I really think about that. First of all,

1362
01:15:48,479 --> 01:15:50,880
Speaker 1: they stars, they have great repertoire, you know that. Let's

1363
01:15:50,920 --> 01:15:54,840
Speaker 1: just say they have that. Um. So getting on the radar,

1364
01:15:55,080 --> 01:15:59,439
Speaker 1: I would say managers. I really trust agents. I think

1365
01:15:59,479 --> 01:16:01,439
Speaker 1: agents are really good and managers are the two best

1366
01:16:01,479 --> 01:16:04,760
Speaker 1: sources for me. Club owners I think are great. There

1367
01:16:04,840 --> 01:16:06,760
Speaker 1: was an artist that played here. People were singing every

1368
01:16:06,800 --> 01:16:09,080
Speaker 1: word of the song. Should have seen the reaction. Those

1369
01:16:09,080 --> 01:16:12,320
Speaker 1: are good sources to me. UM. A couple of people

1370
01:16:12,360 --> 01:16:16,439
Speaker 1: in Spotify, not not high ups, but middle to lower Uh.

1371
01:16:17,280 --> 01:16:19,920
Speaker 1: I still talk to radio people all the time. Um,

1372
01:16:20,080 --> 01:16:23,760
Speaker 1: those are sources. UM. I don't know, it's just you know,

1373
01:16:23,840 --> 01:16:25,800
Speaker 1: you talk to you talk to people. You gotta trust

1374
01:16:25,840 --> 01:16:28,439
Speaker 1: your team too. We have an amazing team, our little team,

1375
01:16:28,479 --> 01:16:30,559
Speaker 1: our family member has grown up with us. So now

1376
01:16:30,600 --> 01:16:32,360
Speaker 1: you have people have been with us six to eight

1377
01:16:32,479 --> 01:16:36,720
Speaker 1: years and they are out there. So that's that's a way.

1378
01:16:36,760 --> 01:16:38,960
Speaker 1: But you know, we created a culture in our company

1379
01:16:39,040 --> 01:16:41,040
Speaker 1: and it's and it's Fami Maine amount be for everybody.

1380
01:16:41,240 --> 01:16:45,920
Speaker 1: We're a family culture where a family of inspired people.

1381
01:16:46,520 --> 01:16:48,960
Speaker 1: I would prefer our people go to the ballet or

1382
01:16:49,000 --> 01:16:53,800
Speaker 1: a foreign film. I'm I'm taking this Thursday night. I'm

1383
01:16:53,880 --> 01:16:55,760
Speaker 1: taking six to eight of our people to the Shed,

1384
01:16:56,439 --> 01:16:59,280
Speaker 1: which is the newest, coolest, most cutting edge art space

1385
01:16:59,560 --> 01:17:02,200
Speaker 1: in the world world where the high line meets the

1386
01:17:03,120 --> 01:17:06,400
Speaker 1: meets uh what's it called the new city, the building

1387
01:17:06,600 --> 01:17:12,200
Speaker 1: up over the over the railroad tracks. No, what Hudson Yards.

1388
01:17:12,840 --> 01:17:15,760
Speaker 1: And it's it's the people that did the armory that's

1389
01:17:15,800 --> 01:17:18,880
Speaker 1: the most that's that's inspirational. If you could see that.

1390
01:17:19,000 --> 01:17:21,760
Speaker 1: I want my team to do that. So I want

1391
01:17:21,800 --> 01:17:24,840
Speaker 1: an artist that that would be moved by going to

1392
01:17:24,960 --> 01:17:27,960
Speaker 1: the Shed with me. I want to hear what book

1393
01:17:28,040 --> 01:17:29,880
Speaker 1: they read. I want to see what movie they what.

1394
01:17:30,280 --> 01:17:31,920
Speaker 1: That's why one of the reasons I love reading Bob

1395
01:17:32,040 --> 01:17:34,120
Speaker 1: is is he turns me onto movies. I turned them

1396
01:17:34,120 --> 01:17:36,640
Speaker 1: onto a book in Vice versa. So I want that

1397
01:17:37,200 --> 01:17:40,839
Speaker 1: in our company. I want inspiration. And when you say family,

1398
01:17:41,439 --> 01:17:43,280
Speaker 1: you know, I thought about it this morning and prep

1399
01:17:43,560 --> 01:17:46,640
Speaker 1: and just in preparing this. We started this company, you know,

1400
01:17:46,760 --> 01:17:49,920
Speaker 1: ten and a half eleven years ago. There's marriages in

1401
01:17:50,000 --> 01:17:53,320
Speaker 1: our company now, beautiful marriages that we've I've attended some

1402
01:17:53,400 --> 01:17:56,120
Speaker 1: weddings and there's another wedding, two more weddings coming up

1403
01:17:56,160 --> 01:17:59,400
Speaker 1: this summer. Great people. And then I look at the

1404
01:17:59,520 --> 01:18:03,120
Speaker 1: lead singer of Phoenix gets married to Sofia Coppola, the

1405
01:18:03,240 --> 01:18:06,519
Speaker 1: lead the keyboard player marries Kingoberza, who might be the

1406
01:18:06,560 --> 01:18:09,439
Speaker 1: best video director in the world. She's incredible. She just

1407
01:18:09,560 --> 01:18:13,599
Speaker 1: did the Aurora video. I see Marcus Mumford marries Carrie

1408
01:18:13,680 --> 01:18:19,640
Speaker 1: Mulligan Winston. Mary's Diana grown, another great actor. Um and

1409
01:18:19,760 --> 01:18:22,599
Speaker 1: I see now a lot of our artists having children.

1410
01:18:22,880 --> 01:18:24,840
Speaker 1: And we go out together, and we we go to

1411
01:18:24,920 --> 01:18:30,320
Speaker 1: opera together, we go to we traveled together. And that's

1412
01:18:30,360 --> 01:18:32,679
Speaker 1: what I wanted when I started, because that's what Chrysalis

1413
01:18:32,880 --> 01:18:35,720
Speaker 1: was for me. That was so beautiful. We we did

1414
01:18:35,800 --> 01:18:38,519
Speaker 1: everything together. I got to know Blondie lad and Benatar

1415
01:18:38,640 --> 01:18:41,320
Speaker 1: Late and Jethro Tall, I got to he brought us

1416
01:18:41,360 --> 01:18:45,600
Speaker 1: gravelocks from his farm to Chris Wright's house where he

1417
01:18:45,760 --> 01:18:48,320
Speaker 1: had his trout, and these are these are rich guys,

1418
01:18:48,400 --> 01:18:50,879
Speaker 1: you know. And I was, you know, a little pitshirts

1419
01:18:50,880 --> 01:18:53,920
Speaker 1: twenty six years old going into these places. But I

1420
01:18:54,080 --> 01:18:58,439
Speaker 1: wanted that. So when I started glass Note, I needed

1421
01:18:58,479 --> 01:19:00,719
Speaker 1: to learn about the past, to say, what of environment,

1422
01:19:01,200 --> 01:19:04,920
Speaker 1: what kind of family. I wanted to have a family culture,

1423
01:19:04,920 --> 01:19:08,400
Speaker 1: but I wanted a culture of excellence, and I wanted

1424
01:19:08,439 --> 01:19:11,080
Speaker 1: to train people. I didn't want to hire major label people.

1425
01:19:11,160 --> 01:19:12,920
Speaker 1: And for the most part we have, and the few

1426
01:19:12,960 --> 01:19:15,080
Speaker 1: we did very very good. But for the most part

1427
01:19:15,120 --> 01:19:19,360
Speaker 1: I prefer not to. So when you get that culture

1428
01:19:20,360 --> 01:19:22,160
Speaker 1: and you have these people that can come over and

1429
01:19:22,800 --> 01:19:25,000
Speaker 1: I don't know, it's just it's it's it's it's a

1430
01:19:25,040 --> 01:19:27,920
Speaker 1: better feeling. And I never worried. You know, some people say,

1431
01:19:28,160 --> 01:19:30,000
Speaker 1: how much money do you make? I think we make

1432
01:19:30,000 --> 01:19:31,479
Speaker 1: a lot of money. I think we sell a lot

1433
01:19:31,520 --> 01:19:33,960
Speaker 1: of records. But it's not that important to me. What's

1434
01:19:34,000 --> 01:19:37,240
Speaker 1: important is that you come to see these artists and

1435
01:19:37,360 --> 01:19:42,080
Speaker 1: you go wow. I was emotionally transported tonight. That to

1436
01:19:42,160 --> 01:19:44,240
Speaker 1: me is better than number one. That really, I really

1437
01:19:44,280 --> 01:19:45,759
Speaker 1: mean that. The first time I heard on the radio,

1438
01:19:46,040 --> 01:19:48,559
Speaker 1: and then when someone comes to a show and goes

1439
01:19:48,720 --> 01:19:51,280
Speaker 1: that was really something, I think, that's what you want

1440
01:19:51,280 --> 01:19:53,360
Speaker 1: to be in business with. So that's the that's the

1441
01:19:53,439 --> 01:19:55,519
Speaker 1: A and R of the company in a in a

1442
01:19:55,640 --> 01:20:01,080
Speaker 1: roundabout way, it's it's really about fitting into a much

1443
01:20:01,160 --> 01:20:06,080
Speaker 1: more inspired cultural world than it is. You know, there's

1444
01:20:06,120 --> 01:20:11,080
Speaker 1: a as an artist we signed. I hope I'm not

1445
01:20:11,479 --> 01:20:15,559
Speaker 1: boring you, but I went to the Juno Awards, uh

1446
01:20:16,720 --> 01:20:18,360
Speaker 1: not this year, the year before and it was in

1447
01:20:18,439 --> 01:20:22,080
Speaker 1: Ottawa and Justin Trudeau had given a very emotional speech

1448
01:20:22,560 --> 01:20:27,400
Speaker 1: about the indigenous population, the First Nation Indians, and I

1449
01:20:27,479 --> 01:20:29,280
Speaker 1: didn't know a lot about it. I did some research

1450
01:20:29,760 --> 01:20:31,759
Speaker 1: and this young man gets up on stage and sings

1451
01:20:31,760 --> 01:20:36,080
Speaker 1: a song called Breathless, William Prince. And I met William

1452
01:20:36,160 --> 01:20:39,360
Speaker 1: that night and he made everybody cry. He sang this

1453
01:20:39,479 --> 01:20:42,040
Speaker 1: song and behind him was the scroll of who died

1454
01:20:42,120 --> 01:20:46,360
Speaker 1: that year and everybody's crying, and he had a standing

1455
01:20:46,400 --> 01:20:48,960
Speaker 1: ovation And thanks to my wife, I went over to him.

1456
01:20:48,960 --> 01:20:50,800
Speaker 1: I gave my business card. A month and a half later,

1457
01:20:50,920 --> 01:20:55,200
Speaker 1: we decided to go into business together and Dave cop

1458
01:20:55,400 --> 01:20:58,800
Speaker 1: just produced his record. And the reason I say it

1459
01:20:58,920 --> 01:21:01,400
Speaker 1: is that got the hearst already of what it was

1460
01:21:01,560 --> 01:21:05,160
Speaker 1: like to get out of what I said to him.

1461
01:21:05,720 --> 01:21:07,720
Speaker 1: This is over many lunches and dinners, what went on

1462
01:21:07,840 --> 01:21:10,559
Speaker 1: on the Indian reservation. And he's not supposed to be alive.

1463
01:21:10,640 --> 01:21:15,240
Speaker 1: This guy between opioids, diabetes, rape, he's not supposed. If

1464
01:21:15,240 --> 01:21:17,640
Speaker 1: you've seen the movie Wind River, that's what it's like.

1465
01:21:17,800 --> 01:21:19,680
Speaker 1: You should see that movie. It's an important movie from

1466
01:21:19,760 --> 01:21:23,360
Speaker 1: last year with Jeremy Renner. So William overcame that. William

1467
01:21:23,360 --> 01:21:27,280
Speaker 1: got into medical school and now I think he's gonna

1468
01:21:27,280 --> 01:21:29,559
Speaker 1: have a big hit record. But that's why we signed

1469
01:21:29,640 --> 01:21:33,479
Speaker 1: him because of his voice. He is not any Bianca

1470
01:21:33,479 --> 01:21:34,960
Speaker 1: asked me a lunch today, who do you think is

1471
01:21:35,000 --> 01:21:37,160
Speaker 1: gonna play the record? What play? I have no idea.

1472
01:21:38,040 --> 01:21:40,200
Speaker 1: I have no idea. Who's ever going to play this

1473
01:21:40,280 --> 01:21:43,479
Speaker 1: guy's record. It's just great. Lucy and Grange wrote me

1474
01:21:43,560 --> 01:21:47,680
Speaker 1: a note and he wrote, great song, great record, and

1475
01:21:47,760 --> 01:21:49,479
Speaker 1: he said good luck. I don't know if I don't

1476
01:21:49,520 --> 01:21:51,360
Speaker 1: know what he meant by that. Was that like a

1477
01:21:51,520 --> 01:21:54,920
Speaker 1: dig or is that like good luck? Getting something this

1478
01:21:55,160 --> 01:21:59,280
Speaker 1: different on the There's nothing like it. There's nothing like it,

1479
01:21:59,360 --> 01:22:03,320
Speaker 1: nothing like his voice, but there was nothing like you

1480
01:22:03,439 --> 01:22:05,840
Speaker 1: know the banjo. There was nothing like that. There was

1481
01:22:05,880 --> 01:22:09,439
Speaker 1: nothing like you know gambinos. So um, that's the A

1482
01:22:09,560 --> 01:22:12,920
Speaker 1: and R of the company. And the song made me cry.

1483
01:22:13,840 --> 01:22:16,000
Speaker 1: And then Dave Cobb heard it and he said, I

1484
01:22:16,080 --> 01:22:19,120
Speaker 1: gotta produce this. So after he did Chris Stapleton and

1485
01:22:19,160 --> 01:22:22,160
Speaker 1: Sturgill Simpson and Jason Isbell and Brandy Carlyle and all

1486
01:22:22,200 --> 01:22:25,080
Speaker 1: the records he's had, he did it and it's coming out,

1487
01:22:25,120 --> 01:22:27,640
Speaker 1: you know, in a few weeks. So that's the A

1488
01:22:27,760 --> 01:22:30,599
Speaker 1: and R. That's the company, that's the inspiration, that's how

1489
01:22:30,680 --> 01:22:32,800
Speaker 1: we worked the company. I don't know if that's a

1490
01:22:32,840 --> 01:22:34,760
Speaker 1: business thing, but I think that's what Chris Blackwell did.

1491
01:22:35,200 --> 01:22:37,320
Speaker 1: I think that's what Jerry Moss did. I think that's

1492
01:22:37,320 --> 01:22:41,280
Speaker 1: what Chris Wright did. And I think that's that's the

1493
01:22:41,280 --> 01:22:43,680
Speaker 1: people that I want to be like one day when

1494
01:22:43,720 --> 01:22:45,960
Speaker 1: I grow up. So that's that's that's my feeling. And

1495
01:22:46,080 --> 01:22:49,200
Speaker 1: on that note, was congratulate Daniel on a grade before

1496
01:22:49,240 --> 01:23:01,520
Speaker 1: everyone I thought of introduced. That was Daniel Lass, Executive

1497
01:23:01,560 --> 01:23:06,120
Speaker 1: Extraordinaire from the Music Media Summit in Santa Barbara, California.

1498
01:23:06,920 --> 01:23:10,000
Speaker 1: Daniel has literally done it all other than be a musician, himself.

1499
01:23:10,360 --> 01:23:13,400
Speaker 1: He was at DJ, worked at many labels before he

1500
01:23:13,479 --> 01:23:17,400
Speaker 1: started his own company and had mega success. If you

1501
01:23:17,479 --> 01:23:19,160
Speaker 1: want to know where it's going, if you want to

1502
01:23:19,200 --> 01:23:21,880
Speaker 1: know how to live your life, listen to Daniel Glass.

1503
01:23:22,360 --> 01:23:25,519
Speaker 1: Thanks for listening. Don't hesitate to email me at Boba

1504
01:23:25,640 --> 01:23:29,479
Speaker 1: left steps dot com with feedback and suggestions. I may

1505
01:23:29,560 --> 01:23:33,439
Speaker 1: not always respond, but I read every email until next time.

1506
01:23:33,680 --> 01:23:34,799
Speaker 1: I'm Bob left Sets