Music Business Contacts: Music Business Registry connects artists, managers, publishers, producers &

“The difference between success and failure is information,” notes Ritch Esra, and he should know. Along with his partner, Stephen Trumbull, Esra is a leading part of the number one most-reliable source of information on “who’s who” and “who does what” in the music business. Best of all, they can tell you where everybody is located.


The Music Business Registry ( publishes five directories: the “A&R Registry,” the “Music Publisher Registry,” the “Music Business Attorney Registry” the “Film and Television Music Guide,” and the “Record Producer and Recording Engineer Directory.” For many in the business, these are indispensable reference works.

“The directories give everyone vital, accurate and the most up-to-date information they need to contact the entire A&R, music publishing, legal and film/TV music communities,” Esra states. From comparing notes with dozens of professionals in all of these areas of expertise, I can tell you that no one disputes his claim.

More than one music industry executive has told me that the Music Business Registry publications are worth their weight in platinum. Tess Taylor, president of NARIP (National Association of Record Industry Professionals), says “I couldn’t get through one day without the directories from the Music Business Registry. These publications are the finest in the business.”

Each directory tells you how to reach industry professionals by regular mail, e-mail, direct dial telephone and fax. The books provide each person’s exact title, street address, the name of their assistant and the styles of music in which each executive specializes. Web sites are also included.


The world of the A&R executive is exciting but ever-changing. Which is to say, there’s a lot of turnover in this part of the industry. So much turnover, in fact, that the A&R Registry is completely updated and reprinted every eight weeks, whereas the publisher volume is biannual and the other books come out yearly.


Created in partnership with RPM Direct, the “Record Producer & Recording Engineer Directory” presents 1,700 of today’s leading Record Producers, Recording Engineers & Remixers throughout the US, Canada and Europe in every genre of music. Included in the book are:

(1) Complete contact information for every Producer, Remixer & Recording Engineer along with a list of their credits.

(2) Producer/Engineer/Remixer Management Companies including a complete

staff listing as well as full client rosters.

(3) A Complete Index to easily locate any producer.

(4) Several Interviews and articles with today’s leading Producers & Engineers.

No wonder you can find the Music Business Registry’s publications in the offices of top record company executives, music publishers, artist managers, agents, music attorneys, recording artists, studios and other music business professionals everywhere from Los Angeles to London, New York to Nashville, Chicago to Copenhagen, Toronto to Tokyo, Stockholm to Sydney and Minneapolis to Munich.


The Music Business Registry is located at 7510 Sunset Blvd #1041, Los Angeles, CA 90046-3400. Phone: 800-377-7411 or 818-995-7458. Fax: 800-228-9411 or 818-995-7459. E-mail: [email protected].

Artists: A Look at the New Music Industry

Artists are less valuable to record labels today than in the past. Record labels used to be invested in the talent they brought in. Before the Internet, the process of finding marketable talent was long, hard work, requiring numerous expenses and a lot of time. It’s easy to see why it was in the record label’s best interest to cultivate the talent they found, rather than keep looking for the “next big thing”. Developing talent produced better artists that stayed in the industry longer–based on their growing level of talent and a mutually beneficial relationship with the music label.

Today, artists are being forgotten as quickly as they are being found, and being tricked into signing contracts that are nearly imprisoning. YouTube and reality TV have replaced the talent scout, allowing record labels to make relatively small investments in mediocre talent which they can then treat like a bowl of desperate wet noodles–throw them all against the wall, see what sticks.

Rinse and repeat…

How has it gotten to this point?

• The way labels discover talent has changed.

• The way people purchase music has changed.

• The labels find new talent, rather than develop the talent they have.

• The artist, in general, has become less valuable to a label.

Changes in the music industry have come to be, simply because the labels want to survive in a world where people are no longer buying CDs. In the past, labels made money based on album sales alone; however, today, labels are signing artists to “360 deals” which now only take a portion of album sales, but also merchandise, touring, appearances, etc. Music artists are suffering the most, giving up their work for expected profits in the 1% range.

As a music artist, is there still a career to be had in the music industry?

While it may seem like a scary time for the music artist, there is hope, as artists are learning to leverage the Internet the same way the labels are. Through on line self-promotion, music artists can enjoy low-cost benefits of mass exposure, enabling the largest profit margins in history.

Today’s successful music artist is just as much an entrepreneur as anything else.

Today’s artist is a brand, a business, just as much as he or she is a source of talent.

While it seems that successful people always find a way–its encouraging to know that music artists are no different.