I’ve received hundreds, if not thousands, of promotional packages from all sorts of people trying to get a deal. These people were savvy enough to know that an entertainment lawyer or a reputable manager was the only way they were going to get their foot in the door. So, you might like to know what I was looking for when people asked me to help them get a deal.
I’ve had enough experience as a musician to know what it takes to make a living, get a gig, or attract someone’s attention in the music industry. I also have plenty of experience in seeing how many opinions there are about “good” music. Early on, I realized that the music I liked and the music that ended up on the radio were not always the same thing. Therefore, when I began practicing entertainment law, I had to take an objective look at music. Getting someone a deal wasn’t always about what I thought was good music. It was more about what was commercially exploitable.
So, the first thing I looked for was quality product. To the record labels, publishing companies, etc., musical talent is really just a product, a commodity—a widget, if you like. Therefore, I was always looking for an act or writer who was a total package, someone who labels or publishers could mold into something commercially exploitable. This meant my clients had to have not only talent, but depth of material and versatility. They also had to have a good attitude and be a team player.