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Table of Contents
1-Choosing the perfect name
2-Creating an impressive demo
3-Marketing and creating a brand by
using Video and Mixtapes to gain
exposure
4-Deciding to go with a major record
label
5-Copyright and Trademark information
6-How to choose your dream team
manager/lawyer
7-Staying focus and not giving up
8-Complete list of Major Rap Record
Labels
Directory of Record Labels
How to Become
A
Hip Hop Star
El Evans
Uncore Media Publishing
Do you have what it takes to become
the next Hip Hop Star? Are your Raps
on fire? Do you have people nodding
their heads to your music? You might
find yourself spending countless hours in
the studio (whether homemade or
professional with all the works) writing
lengthy prose for your next dream hit
record, all the while wondering to
yourself, “How do I take my skill set to
the next level and become hip hop’s next
‘star’?” This book will be your guide to
becoming that hip hop star. The Hip hop
music industry has established itself as a
solid and marketable, multi-million
dollar industry capable of expanding to a
global audience. Everyone in the
business
makes
money;
Record
companies, record producers, engineers,
ghost writers, song writers, promoters,
managers, and recording artists. A few
hip hop producers and artists have
become among the richest people in the
nation. It’s time to make your mark!
Rap is a form of hip hop music
characterized by rhyme patterns, quick
lyrics and spoken verses. If you want to
become a rapper, it will not be that easy.
It will take hard work, just like any other
career would. The high life of a famous
hip hop star may be full of music videos,
sold-out concerts, award shows, red
carpets, multi-platinum records, hot
parties, beautiful women and handsome
men but the life of the average hip hop
performer includes long hours in the
studio, unemployment for long stretches
between gigs and a lot of rejection.
The salary also varies greatly on each
side of the spectrum. The salary of a hip
hop star can acquire up to $27 million,
which was Forbes reported 2012 salary
of Lil Wayne. The salary of the average
rapper can be $9.66 per hour. Don’t
believe that every rapper is rich!
Rhythm and Beats is what makes up
the core of rap. A hip hop artist can rap
with music or rap without, but either
way your words must have a beat and
flow to a rhythm. Developing your own
style is very important in terms of
longevity. Listen to your favorite hip hop
artists and note their style and how they
keep the beat. Become familiar with
current hip-hop culture and trends.
Watch the award shows. Pay attention
to the latest hip-hop styles and see what
your favorite rap artists are wearing.
Your look is very important. Everything
counts; from the cap on your head, to the
sneakers on your feet. Read magazines.
Put the time in to improve your craft,
practice in front of an audience. It
doesn’t have to be a large group; you
should be your first audience. That’s
what your mirror is for “practice”, to
view yourself as you study your
reflection for your visual affect. You can
practice by paying attention to how the
words fit with the beat of the music and
rap along.
It would also be smart to learn about
other forms of music, to become
knowledgeable and respected as a true
musician as opposed to someone who
just writes rhymes. Blues may be a great
starting point.
It is often said, “You can’t know
where you’re going, until you know
where you’ve been”. This certainly
applies to the genre and urban lifestyle
of hip hop in several ways. Hip hop is a
modernized form of the Blues that was
originally formulated to describe the
hardships
experienced
in urban
neighborhoods in thoughts, beliefs,
personal tribulations, and how they
made an impact on the individual who
created the song – the rap artist. Even
though a rap artist may achieve monetary
wealth, they still create murky lyrics
about economic issues and the streets
because it has/will always be intended
to express the sound of the “black male
rage”. This style of music started through
the discussion of issues like inner-city
disfranchisement, political unrest, law
and order mentality, and unemployment.
Drugs, violence, and sex are commonly
discussed, like in rock [& roll] because
these were two genres created with the
spirit of rebellion. No matter how hip
hop may change throughout the years,
this will always be a formula that will
exist in this style of music. This does not
mean these are the only subjects that the
genre covers; since like the times, this
style of music has gone through a range
of changes. In the 1970’s, hip hop
developed due to the melodic speeches
formed by civil rights leaders such as
Dr. Martin Luther King, Jr. and Malcolm
X. The pioneers of this class of music
were artists such as DJ Kool Herc,
known for “cutting and mixing” the break
points of popular Soul, R&B, and Funk
records; and the group known as the
Sugar hill Gang with the famous
“Rapper’s Delight” in 1979. Their music
was utilized for revolution – cultural,
social, political… and to make people
dance!
As a lover of hip hop, you would
know this style of music not only focuses
on the negative aspects of life, but also
has the ability to inspire others. Rappers
discuss in their lyrics about how they
were able to succeed and achieve
financial gain after a long period of
suffering and poverty; which is
considered the dream of the common
urban man. Through their success, they
create an image that many other people
wish to embody since they observe how
the artist was able to succeed despite the
hardships that they have encountered.
Inspirational songs have also been made
by rappers for the youth in America in
order to achieve their dreams in life
without being exposed to the negativity
that lurks in the streets of the ghetto.
Lyrics and music videos by such artists
as Nas’ “I Know I Can” calls to the
attention of younger children teaching
them to get an education and remain
focused in order to have success in life.
There were many other songs that were
created to encourage children to be
optimistic and achieve success in
legitimate ways instead of participating
in illegal activities, becoming part of a
statistic, and facing harsh consequences
such as “Children’s Story” by Slick
Rick. As one could see, the display of
the ability to live a fulfilling life and to
rise above a ghetto way of living
frequently serves as a great example and
inspiration for the urban population in
America. One may ask if this genre of
music will still be relevant and have
lasting power in the future. Hip hop will
always remain in our society because of
its historical content and ability to
change with the times both lyrically and
musically. It originally was an AfricanAmerican
response
to
the
consumerization of culture and the
disposability of people. Since it has
helped to represent the misrepresented
and its authenticity has been defined by
its capacity to digitally channel the joys
of the black male rage, as previously
stated, it will always exist as long as
there is discrimination, desire and
struggle. Of course, this voice that it
provides has marginally changed since
hip hop is a genre enjoyed and now
created by other ethnic groups. In every
ethnic group there are outcasts or those
who have experienced a form of
discrimination or oppression. This
culture has become main stream in
America and other parts of the world
through commercials, fashion, and
everyday language such as slang. Hip
hop will always have a democratic
outlook and be accessible to the range of
personality types
that constitute
generally the urban community since it
refuses to be reduced to a matter of style
and is considered an “ethnic cleansing”
that grows more extreme over time.
These are a few reasons why hip hop
will never cease to exist. To explore the
history of hip hop on a deeper level, I
recommend books such as “The Vibe
History of Hip Hop” and Russell
Simmons’ book titled, “Life and Def:
Sex, Drugs, Money, + God”.
It is called show business, but far too
often there are plenty of artists who
focus purely on the “show” aspect and
not enough of the business aspect. This
quickly leads to problems and
potentially devastating occurrences
since in this industry it’s about 90%
“business” and 10% “show”. This is not
a business for the lazy. Like it or not,
you have to take full responsibility to be
business savvy if you want to avoid
being left high and dry or completely
discouraged. There are so many people
who come into play. There is you (the
artist) and the producers you choose to
work and create music with, a manager,
agent, lawyer, record label, publishing
company, distributors, and club/event
promoters, just to name a few. With all
of the people involved in the circle, it
can feel a bit overwhelming, but do not
fret. It will all be broken down to make
it all easier to understand. There is a lot
of hard work involved with the journey
to becoming a “Hip Hop Star”!
Assuming this is your true love and
passion, you would have to keep things
in perspective, maintain a great attitude
(overall and especially with others) and
try not to overwhelm yourself. Take your
goals, break them down into “babysteps” and micro-manage instead of
trying to get everything done at the same
time. Set up mini-goals for yourself and
attack them systematically. You’ll be
surprised at how much you would have
achieved in a week or a month’s time!
Another tip that would help on a mental
plane would be to make sure you aren’t
constantly making comparisons of your
own progress to other artists you know.
This can cause you to feel like the work
you have put in isn’t enough. Of course
we all imagine and want to progress and
achieve our own definitions of success,
but it isn’t healthy to always be in
competition with your peers like that.
Focus on your own goal set, be
persistent, maintain your skill-set with
constant practice (whether it’s free
styling or rehearsing your own recorded
songs), and keep performing! The more
you keep your name, face, and music out
in the public and are being seen/heard by
different groups of people, the better
things will be for you in the long run.
Networking in all forms of show
business is one of the most (if not the
most) important things you can do for
your advancement. It is a business
rooted in relationships. Your name
means everything. Don’t do anything
careless to ruin your reputation –
including but not limited to mixing
business with personal issues, becoming
addicted to drugs, or thinking you have
to compromise yourself for your
advancement. Over time, applying the
aforementioned advice combined with
an excellent work ethic, a great sound
and appeal, you will generate a huge fan
base and a buzz! You have to make sure
to keep a positive outlook no matter how
things look in the present tense. You
have to be able to envision on a
conscious and a subconscious level your
success to make it happen. It truly helps
if you feel as if you already own the
things you look to attain. Remain
focused, determined, and keep the
belief/faith that you will advance in your
career and let it flow.
1-Choosing the perfect name
One of the first things you will need
is a hot name. Names like (Diddy) or
(Jay-Z) just don’t make it in the rap
world anymore. One of the first things
you want to do when deciding on a name
is check to see if another rapper has it.
This will cause confusion with your fans
and you don’t want that artist to sue you
over their trademark. Your name will be
a major part of your marketing and
promotion strategy. People discover and
share music over the internet. When
looking for music, your name needs to be
discovered quickly through search
engines. Don’t use your real name when
determining what name you should
choose as your hip hop name. When
choosing your name avoid using double
names like “ Marky Mark,” or “Dougie
Doug”. Don’t make the mistake of
calling yourself “Lil” or “Young”
anything. Make sure people can
pronounce your name. If your name is
difficult to pronounce it will be difficult
for people to find. When people are
doing a search for you, they may have a
hard time finding you if they can’t spell
it or say it. You will want people to start
talking about you through word of mouth.
You want people to create a buzz about
you. Some artist have had complex
names but if you want to come up quick
“make it simple”. The whole purpose is
to create a fanbase and have people
calling your name. Don’t make your
name too common because people will
have a hard time finding it. If you
“Googled” yourself, you need a name
that is search engine friendly. If you
decide on using a common name , change
the spelling to make it easier for people
to find you. Put some long thought into
the name you choose because it may
affect your future merchandising. Choose
a name that will send a direct message
and make your name stick in people’s
minds. Once you have choosing a name
you should think of ways you can twist
and turn it to make it cooler. I mentioned
earlier not to use “Lil” or “Young” in
your name because years from now if
you are still in the game it will have an
adverse effect on your career. When
everybody stops using those names and
you are trying to maintain a serious
career it will look out dated. . The name
you choose doesn’t have to stay the same
forever. If you’ve had the same name for
years and it’s been difficult to market
and not been successful then change your
name! Changing your name could
potentially help you a to achieve more
success. Recording artist “Two Chainz”
changed his name from “Tity Boi” to
“Two Chainz”. Mac Miller was once
known as “Easy Mac”. Think of a name
that incorporates something from your
name, biography or lifestyle; something
that people will remember and easy to
roll off their tongue like “Two Chainz”.
Think catchy and edgy to find the perfect
name. What type of rap do you want to
write? You have the option to rap about
anything you want. Today’s hip hop
artists seem to have a mix of genres.
There are different genres of rap.
Religious rap, Love story raps, Sociopolitical statements and cultural identitythemed raps. The most common and
popular is gangsta rap which
encompasses drugs, money, gang
violence and sex. This genre is a
common and popular choice, but more
artists are leaning to more common
themes to rap about like cars,
materialism, fashion trends, drinking and
partying.
2-Creating an impressive demo
You will need a demo. Before
recording a demo, make sure you are
ready. You want to sound smooth and
professional. Rehearse! Making a demo
is a process that will take time and
patience. Whether you decide to record
a demo at a studio or at home, you must
make it as professional as possible. I
would suggest using a studio. Studios
charge by the hour or on a per-day basis.
Be efficient and move quickly to stick to
your allotted time. If the studio provides
a producer (or includes one for an extra
price) use him! Be open to following the
producer’s advice. He’ll usually know
what he’s talking about, or will at least
provide a different perspective based on
his past experience. If you decide to
record at home get a Macbook Pro.
Computer programs can cost anywhere
from $100 to $800, but can be a lot
cheaper than renting a studio. Popular
recording software includes Cakewalk
Music Creator Pro and Pro Tools.
GarageBand is also popular since it
comes with all Macbook Pros, although
its functionality is much less than
software such as Pro Tools. Search for
online forums or troubleshooting articles
if you reach a sticking point .Take the
time to record yourself rapping live.
You can rap with or without a
background beat. Adjust the vocals,
tone, sound, volume, and background.
You can also blend the tracks together
and add sound effects. Mastering means
you make sure every part of the song is
perfect. If you are going to have more
than one song on your CD, you can add
track markers. When preparing a demo
CD, remember, if you don’t hook the
listener with the first rap, chances are
they won’t listen to the rest of the demo.
So, always lead with your best song.
Never send out more than four tracks at a
time. Along with your CD, you need to
include a press package. Your
Press kit should have: An 8x10 photo.
This is where your style comes in. Make
sure you represent yourself exactly the
way you want to be seen as a rap artist.
A brief bio, a brief summary that
discusses your fan base, lists your
accomplishments (for example, if you
won “Brooklyn Rapper of the Year”),
and lists where you have performed.
Press clippings with explanations. Press
clippings can include reviews or
articles. Make sure your CD label has
your name and contact information. Use
a two-pocket folder as a cover.
3-Marketing and creating a
brand by using Video and
Mixtapes to gain exposure
Nowadays, there is a wealth of
information available at your fingertips
on the internet helping you to see how
you can further spread your sound and
name. Equipment to record (both video
and music) is also more easily
accessible than ever before for
independent artists to initiate their own
channels and build a fan base. The key to
success in getting more fans or
subscribers, is to consistently come out
with great new content that sounds/looks
as professional as possible and uniquely
follows the current events/trends. For
example, if a well-known recording
artist came out with a new song or
mixtape, you could choose to have your
own freestyle on a beat that was used in
that artists new hit or “remix” it. The
main focus should always be of course
on lyrical content, clear sound, and
video. Last but not least, make it
interesting! If an audience member feels
like they won’t be able to understand
what is going on in the first 10-30
seconds, your video will not hold their
attention. The rule of capturing the
audience’s attention also applies to the
“Thumbnail” image for your video.
Images used with bright, eye-catching
colors and high-contrast tend to have a
higher rate of clicks compared to
thumbnail links to other videos on the
same page because they stand out. Keep
your titles to your videos accurate. Do
not try to fool the viewer, otherwise it is
a sure way to lose his/her retention.
Lastly, make sure the video has good
“tags” on it. Tags are what help people
who are searching online for web
content find what they are looking for.
It’s a means for labeling all content on
the web. For example, if you search the
term “foxes”, videos, photos, news, etc.
will pop up relevant to that term.
Depending on what type of video you
are posting on YouTube, you are going
to want to think of all of the possible
search keywords or “tags” people might
look up so that your video ends up being
in the list for some of the top content that
pops up. For example, let’s say you
remixed Kanye West’s song “I Don’t
Like” which features Pusha T, Chief
Keef, Jadakiss, and Big Sean. You
would want to put it under categories
like “Music”, “Entertainment”, “Rap”,
“Freestyle” “Hip-Hop”, “I Don’t Like”,
the relevant artists that appeared in the
original song, etc. It would be wise to
[obviously] add your stage name. On
your videos, to increase interactivity you
could add your Twitter handle
(@yourname) to the bottom corner of
videos so that people know where they
can also speak to you or follow you. At
the end of videos, often times the viewer
will be left wondering what they should
watch or listen to next. You could make
this easier for them by including a link to
another video of yours for them to visit
in case they want to see/hear more from
you. This is important especially if you
plan on monetizing off of your videos
(and who wouldn’t want to do that?)
since you could get more views on even
older content. YouTube luckily has a
help section that makes it easier to
understand the rules of monetization of
material. The first and most important
rule on there is you must post original
content and agree not to use any schemes
to get more views - they must be
authentic. I’m sure you’ve heard of
people selling “likes” and “followers”
on social media platforms. If YouTube
finds out that you obtained views in a
method that breaks contract, they have
the right to remove the content, remove
the amount of fake views, and even
cancel your account. How embarrassing
would that be? Major record companies
such as Universal and Sony learned that
nobody is immune to this rule, since they
were recently penalized for this act. If
you try to cut corners, you’ll get cut!
There has been a power shift over the
years since A & R’s from record
companies look to platforms like
YouTube, besides artist showcases, to
discover new promising talent. Publicize
your material. Give your demo CD out to
as many people as possible. Try
attending rap events and clubs where
you can drop your CD off with the MC
and DJ. Also, take advantage of Internet
outlets like MySpace and YouTube to
get your name and style out there.
Showcase your talent and build a fan
base by performing live. Build buzz by
getting your music played on the internet
radio and Internet communities. You’ve
heard of internet successes in other
genres of music such as Justin Bieber,
who was discovered in this manner by
Usher, and wound up getting signed.
Artists decide to do cover songs, or they
perform their own original songs, create
stylish lyric videos or even shoot their
own music videos to post on YouTube,
and share through other social
networking sites such as Facebook or
Twitter. There’s even the “new”
Myspace that seriously focuses on
dealing with musical artists and their
fans. Distribute your music in stores and
on the Internet When creating new
content, think to yourself, “how can I
change the game authentically with my
experiences or vision?” Music, like
everything else in life, evolves. How
can you make a contribution to that
evolution? Apply those ideas and share
your content.
4-Deciding to go with a major
record label
In the past, it was all about being
discovered by a major record label.
Major record labels were the sole
method of getting your music heard on a
worldwide level. This doesn’t mean that
people don’t still try to achieve being
signed under a major record label; nor
that wouldn’t you want to still do this.
Whether you want to do this or not is
completely dependent on what your
personal goals are as an artist. You
might choose to join an independent
record label. Nowadays, it’s not as
crucial as it was previously to be signed
to a major label since you could now
achieve incredible success on your own.
Record companies pick up who would
be marketable, and therefore profitable.
Keep this in mind. Let’s imagine that you
have done a lot of local shows, you have
your YouTube account with your music,
you’ve done a lot of networking, and are
debating on whether you would like to
be under a major label, an independent
label who distributes through a major
label, or a truly independent label. What
you decide on truly relies on your own
personal short and long-term goals and
style as a performer. There are pros and
cons to both major and independent
labels. If you go with a true independent
label, they are in no way affiliated with
the major labels nor major distributors.
A major record label could be focused
on a bigger act than you; someone who is
already well-known and you could be
pushed aside (or shelved) if your
package doesn’t seem like its coming
together to generate revenue and success
as quickly as others. An independent
label could give you more of the
attention you need, at the same time,
their distributors might not have as wide
of a reach globally with large retailers
as you would desire to have. The
independent distributors might not be
able to get certain record stores to sell
your CD’s, but on the other hand, they
could actually serve your art better than
other major distributors. How much you
earn in royalties would seriously depend
on these methods of distribution, sales,
digital performance (such as your songs
being played on satellite radio or
Pandora), ringtones, advertisements,
video games, etc. Each record label has
unique strengths and weaknesses for
each genre of music. Like anything else
in this business, you should do your
research. Sometimes your first offer isn’t
the right offer for you. Don’t settle!
Regardless of which you choose, they
are going to go with an act that they
believe will earn them money. It helps
that they really love and believe in your
music and artistry to avoid easily being
dropped from the label if you under
perform.
5-Copyright and Trademark
information
Like anything else in life, people will
try to find a shortcut. It’s unfortunate
when another person is trying to take a
shortcut to fame by using your material
or music you worked so hard to put
together. When creating content, whether
it’s a song, website, lyrics, you will
want to protect yourself from those who
deeply believe your work has value to
the extent that they try to steal it and
claim it as their own original piece of
work. Even though making a solid copy
of the work (like a CD) is technically
already considered copyrighting your
material, it would be wise to make sure
whatever you create is copyrighted with
the United States Copyright Office –
Library of Congress. Fortunately, it isn’t
a difficult process. You could go to the
official
website
at
http://www.copyright.gov/ where they
explain how to register your work. It
could be done hard copy or
electronically through an application
process, followed by paying a fee
starting from as low as $35 for online
registration of a basic claim of an
original work of authorship. After
getting your work copyrighted, you’re
going to want to get your music licensed
by joining ASCAP (American Society of
Composers, Authors, and Publishers) or
BMI (Broadcast Music, Inc.) depending
on your preferences to protect your
music rights. These are known as
Performance
Rights
Organizations
(PRO’s) and they collect license fees
from businesses in order to distribute
royalties to songwriters and musicians.
These two organizations are very
similar. The biggest differences are that
ASCAP is an association run by a board
of directors that are songwriters,
lyricists,
music
publishers,
and
composers, and BMI is a non-profit
organization of broadcasters whose
board of directors are chosen by
broadcast stockholders and a BMI
employee. Writers and publishers are
very much involved in what goes on
with ASCAP whereas BMI doesn’t hold
general meetings. According to an April
2008 decision by Judge William C.
Connor of the United States District
Court of the Southern District of New
York, ASCAP has a duty to represent the
interests of its writers and publishers.
BMI has no contractual obligations. Both
of these organizations support artists in
that they provide other services and
benefits for their members.
6-How to choose your dream
team manager/lawyer
Let’s get down to the important
“core” of who will help you advance in
your career. It is very important to have
a good crew around you; not just your
“homies” in the studio who you’ve
known since grade school. I’m talking
about actually getting an entertainment
lawyer, a manager, and an agent. A good
fit for an entertainment lawyer would be
one who has listened to your material,
believes in your talent/abilities, who you
feel you can trust (and vice versa)
before you both decide to officially do
business with each other. Never
underestimate the power of having an
entertainment lawyer. This is someone
who can help you from tricky contract
deals (to make sure you don’t get the
short end of them) and identify possible
loopholes to avoid. This is a very
important person to have on your side.
According to “The Music Business
(Explained in Plain English)” by David
Naggar, Esq., a music/entertainment
lawyer will have one of two ways that
they do business with you. Plenty have a
retainer fee (a payment you give them in
advance in addition to the normal rate
they charge per hour) or a set fee from
the artist’s earnings in deals which the
lawyer helped them complete. The
trickier thing to achieve could possibly
be getting a good manager. You have to
find out answers to plenty of important
questions.
Who
does
this
person/company currently represent?
How far have they been able to take
their other artists and in how much time?
Do they seem to have a great rapport and
actually help the artist(s) progress
forward or are they just enjoying the title
of being known as a “manager”? Is their
relationship in good standing with
record companies? Always do your
research! There will be plenty of people
who could claim they will take your
career to the stratosphere level, but do
not get caught up in promises or
people’s words. You have to always
carefully evaluate their actions. A
personal manager will handle different
aspects of your career, and therefore
play a pivotal role in it. They will help
arrange who you should work with, try
to push you to record labels, promote
you, and let you know where you should
tour with your music. Just like the
entertainment lawyer, they must truly
like your music and believe in you as a
total package so that they promote you to
their maximum potential. On average, a
personal manager generally collects
around 15% - 20% of an artist’s gross
earnings. Clearly, this is once you start
earning money for your performances.
When you sign a contract with a
personal manager, since they are not
unionized like agents are, they do not
have a specific set of rules they must
abide by. Therefore, you should beware
of these things before signing:
1. How long is the term of the
contract/how long does it say the
manager will represent you for, or
is it dependent on album releases?
2. Negotiate the terms of how much
money the manager shall receive
after the contract is over as well as
the length of the time he/she will
still receive payment. You don’t
want them to continue to be an
expense long after the relationship
is over.
There are official managers out there
who never have an official contract,
which is risky, because regardless of the
fact that verbal agreements are still valid
in court, it could be hard to determine
exactly what was and was not a part of
your deal. It would be best to have all of
the cards laid out in front of both you
and your manager so there is no
possibility of confusion later on. Having
a great personal manager and
entertainment lawyer can help you
choose an agent. An artist doesn’t
always need an agent, but it is a good
idea to have one because of their
relationships with venues/shows and
places where an artist can make an
appearance, such as concerts. They are
in charge of booking these events. This
is not to say that your personal manager
might not do these tasks (if they are
extremely well known, this is also a
possibility). As mentioned before,
agents are unionized. They are under the
American Federation of Television and
Radio Artists (AFTRA), as well as the
American Federation of Musicians
(AFM). There are set rules they must
comply with in both unions in regards to
how much they earn from an artist’s
gross earnings for the work obtained by
using their services (10%).
7-Staying focus and not giving
up
As one could see, becoming a star in
the hip hop game involves perseverance,
passion, and business-savvy. Staying
focus on your goal is really the key to
success. Getting a record deal will be
extremely hard. It will take a complete
team of professionals with connections
in retail, radio, venues, and distribution.
There are plenty of great guides and
pieces of literature available that deeply
explore other specifics of the hip hop,
music, and the entertainment industry
such as “All You Need to Know About
the Music Business” by Donald S.
Passman, and “Music, Money, and
Success” by Jeffrey and Todd Brabec.
Who knows? Maybe you could
become the next Russell Simmons,
Diddy, 50 Cent, Queen Latifah, or Jay-Z
who branched out and became hip hop
moguls by having their own clothing
lines, record labels, film production
companies, liquor, beverage or water
brands…the possibilities are endless!
Don’t be afraid to think big! Keep in
mind all that was previously stated when
proceeding on to the next goal, and you
also could become the next hip hop star!
Keep going even when it seems like the
odds are stacked against you. Not only
did it take most successful rappers much
longer to reach their goals than they
initially thought, but many of their most
difficult times produced their best
material. Stay in it, keep innovating
beats and rhythms and take heart in the
process of becoming a hip hop success.
Good Luck on Becoming A Hip Hop
Star
8-Complete list of Major Rap
Record Labels
We hope this book will give you the
information you need to make important
music industry contacts. We’ve made
every effort possible to provide
accurate,
up-to-date
information
regarding contacts, addresses, phone
numbers and styles labels represent. It is
suggested that you call the contact
number first! With this information you
should be prepared and ready to present
yourself in the most professional way as
possible.
1-Always get the complete name and
title of the person you talk with so you
can properly mail them your demo
package. Some labels may allow emails
with attached music files but I would
mail the demo CD anyway!
2-Remember if you address it to the
A&R Department of a major label
without a contact name, it will certainly
end up in the trash. Make sure you call
the label first and get name of A&R
contact.
3-Call the record label and explain that
you have a demo for the A&R person
along with biographical information and
a photograph of the respective artist.
Then be sure to ask before mailing
anything what style of music the label
deals with or prefers, because certain
labels are looking for a certain type or
style of sound.
4-Never be pushy or rude with an A&R
person. Always Stay on the top of things
until you get an answer .Consistency and
professionalism are critical. One call
every week is the most effective followup method.
5-If the label hasn’t had an opportunity
to listen to your respective demo don’t
get mad ! A&R people received between
200 and 500 demos a week depending
on the size of the label naturally they do
not have the time to listen to all of them
at once.
6-Get to know the A&R Contact well.
They will give your package priority!
Directory of Record Labels
40 Acres & A Mule Musicworks
8 Saint Felix St., 1st Fl
Brooklyn , NY 11217-1206
718 - 858-9634 V
718 - 875-5416 F
550 Records
550 Madison Ave 21 st Fl
212-833-8000 V
212-833-4054 F
A&M Records
1416 N La Brea Ave
Hollywood, CA 90028- 7596
213-469-2411 V
213-856-2600 F
A&M Records
825 Eighth Ave 27th Fl
New York , NY 10019-7472
212-333-1326 V
212-333-1301 F
Arista Records
9975 Santa Monica Blvd
Beverly Hills , CA 90212-1661
310-789-3900 V
310-789-3944 F
Arista Records
6 W 57th St.
New York , NY 10019-6103
212-489-7400
212-977-9843
Atlantic Records
9229 Sunset Blvd , #710
Los Angeles , CA 90069-2474
310-205-7450 V
310-205-7411 F
Atlantic Records
75 Rockefeller Plaza
New York, NY 10019-6973
212-275-2000 V
212-581-6414 F
Atlas Records
825 8th Ave 24th FL
New York , NY 10019-7472
212-603-3957 V
212-603-3915 F
B-Atlas & Jody Records
2557 E 1st Str.
Brooklyn, NY 11223
718-339-8047
Bad Boy Entertainment
8-10 W. 19th St. 9th Floor
New York, NY 10011-4206
212-741-7070 V
212-741-0051 F
Bayside Distribution
2609 Del Monte St.
West Sacramento, CA 95691
916-373-2548 V
916-373-2511 F
Big D Productions
3318 Larry Drive
Columbus , GA 31907
706-568-7265 V
Black Diamond Records, INC
Box 8023
Pittsburg ,CA 94565-8023
510-439-2040 V
510-439-4342 F
Black Employed Records
66 Kay Dr.
Etobicoke , ON M9V 4X7
416-747-7591 V
416-747-8449 F
Black Rose Prod . Int’l Co.
15 Gloria Lane
Fairfield , NJ 07004
201-227-3884 V
201-575-7249 F
Black Rose Productions , Inc
P.O. Box 216
Cold Springs Harbor , NY 11724
516-367-8544
516-692-4709
Black on Black Records
278 Clinton Ave
Brooklyn , NY 11205
212-330-9049 V
Blue Gorilla Records
825 8th 19th Fl
New York , NY 10019-7472
212-603-3908 V
212-603-7650 F
BMG Music
6363 Sunset Blvd
Hollywood ,CA 90028
BMG Music Publishing
8370 Wilshire Blvd , 3rd Fl
Beverly Hills , CA 90211
213-651-3355 V
213-651-5244 F
BMG Music / RCA
1540 Broadway
New York , NY 10036
212-930-4000 V
212-930-4479 F
BMG Music / RCA Nashville
1 Music Sq W
Nashville , TN 37203
615-664-1200 V
615-664-1237 F
Boom Productions/Powerplay Records
200 Regent Dr
Winston-Salem , NC 27103
919-768-1298 V
Bullet Proof Management
P.O. Box 180 Cooper Station
New York , NY 10276-0180
Capitol Records
1750 N Vine St
Hollywood , CA
213-462-6252
213-467-6550
Capitol Records
1290 Ave of the Americas , 35th Fl
New York , NY 10104
212-492-5300 V
212-492-5368 F
Capitol Records
1111 16th Ave S
Nashville , TN 37212
615-320-5009 V
615-320-0171 F
Cardiac Records
1790 Broadway , 6th FL
212-977-8020 V
212-977-8042 F
Cash Money Records
2800 Veterans Memorial Blvd
Metairie, LA 70002
504-835-2676
Christy Records
1817 Loch Lomond Wy
Las Vegas , NV 89102-4437
702-384-0030 V
702-382-1926 F
Chrysalis Music
955 Sunset Blvd , 3rd Fl
Los Angeles , CA 90069-3309
310-550-0171 V
310-550-0785 F
Chrysalis Records
8730 Sunset Blvd , 5th Fl
Hollywood, CA 90069
310-659-1799 V
310-649-9008 F
Chrysalis Records
1290 Ave of the Americas , 42nd Fl
New York , NY 10104
212-492-1200 V
212-245-4115 F
Columbia Records
550 Madison Ave
New York , NY 10022-3211
212-833-8000 V
212-833-4812 F
Columbia Records
34 Music Sq E
Nashville , TN 37203
615-742-4321 V
615-742-4338 F
Columbia Records-Regional
5901 Peachtree Dunwoody Rd
Bldg C # 100
Atlanta , GA 30328-5372
Columbia Records -Regional
8700 Stemmons Freeway , # 309
Dallas , TX 75247-3724
214-634-1710
214-638-6464
Columbia Records/ Sony Music
2100 Colorado Ave
Santa Monica , CA 90404
310-449-2100 V
310-449-2899 F
Com Four
7 Dunham PL
Brooklyn , NY 11211
718-599-0513 V
718-599-1052 F
Contract Recording Co.
129 Fayette St.
Conshohocen , PA 19428
610-940-9533 V
610-940-6667 F
Creative Network Co.
P.O. Box 2818
Newport Beach , CA 92659-2818
714-494-0181 V
714-494-0982 F
Critique Records, Inc
800 W Cummings Park , # 2500
Woburn , MA 01801- 6351
617-935-7540 V
617-935-6866 F
D.S.M . Producers , Inc
161 W 54th St.
New York , NY 10019
212-245-0006 V
Def Jam
160 Varick St. 12th Fl
New York , NY 10013-1220
212-229-5200 V
212-229-5299 F
Def Jam South
P.O. Box 78386
Atlanta, GA 30357-2386
404-876-6695
DV8
1500 Broadway #512
New York , NY 10019-7413
212-641-5200 V
212-397-0976 F
East Side Digital
530 N 3rd St.
Minneapolis , MN 55401
612-375-9188 V
612-375-0272 F
Eichner Entertainment Co.
810 7th Ave 8th Fl
New York ,NY 10019-5872
212-603-8683 V
212-603-8756 F
Elektra Entertainment
345 N. Maple Dr. # 123
Beverly Hills , CA 90210-3858
310-288-3800 V
310-274-9491 F
Elektra Entertainment
75 Rockefeller Plaza
New York , NY 10019-6972
212-275-4000 V
212-581-4650 F
EMI Records Group
1290 Ave of the Americas, 35th Fl
New York , NY 10104-0046
212-492-5000 V
212-245-4115 F
EMI Records Group/EMI Latin
8730 Sunset Blvd , 5th Fl
Hollywood , CA 90069
310-659-1799 V
310-649-9008 F
Epic Records/ Sony
2100 Colorado Ave
Santa Monica , CA 90404
310-429-2100
Epic Records /Sony
550 Madison Ave , 22nd Fl
New York , NY 10022-3211
212-883-8000 V
212-833-4054 F
Five Roses Music Group International
34A Lanier
Main Studio
Jekyll Island , GA 31527
912-635-3062
Flavor Unit
155 Morgan St.
Jersey City, NY 07302-2932
201-333-4883 V
201-333-7525 F
Flying Heart Records
4026 NE 12th Ave
Portland , OR 97212
503-287-8045 V
Funkytown Records
246 N Western Ave
Los Angeles, CA 90004
213-464-1323 V
213-730-4804 F
Geffen / DGC Records
9130 Sunset Blvd
Los Angeles , CA 90069
310-278-9010 V
Geffen /DGC Records
1755 Broadway
New York , NY 10019
212-841-8600 V
212-247-8825 F
Glitch Records
Box 4429
Austin , TX 78765-4429
512-441-2422 V
512-441-7072 F
Gotham Dist.
2324 Haverford Rd.
Ardmore , PA 19003
215-649-7650 V
215-649-0315 F
Gotham Distribution
2324 Haverford Rd.
Admore, PA 19003
610-649-7650 V
610-649-0315 F
Hallways To Fame Productions , Int
8017 International Village Dr.
Jacksonville , Fl 32277
904-745-0897 V
Happy Man Records
4501 Spring Creek Dr.
Bonita Springs, Fl 33923
813-947-6978
Hollywood Records
500 S Buena Vista St.
Team Bldg
Burbank , CA 91521-0001
818-560-5670 V
818-841-5140 F
Homebased Entertainment Co.
96 St. James Ave
Springfield , MA 01109
413-746-8302 V
413-746-6262 F
Honest Entertainment
50 Music Square West # 402
Nashville , TN 37215
615-320-1013 V
615-320-1128 F
Ichiban Records
P.O. Box 724677
Atlanta, GA 30339
770-419-1414 V
770-419-1230 F
illtown Records
748 Bereley Ave
Orange , NJ 07050-2005
201-414-0685 V
201-414-0645 F
Impact Records
6255 Sunset Blvd , Ste 1111
Hollywood , CA 90028
213-466-6900 V
213-957-0121 F
Inspire Productions, Inc.
302 E. Pettigrew St.
Suite 101
Durham, NC 27701
919-688-8563 V
919-688-8565 F
International Records
P.O. Box 725
Daytona Beach , Fl 32115-0725
904-252-4849 V
Interscope Music Publishing
10940 Wilshire Blvd , 20th Fl
Los Angeles , CA 90024
310-443-3237 V
310-443-3242 F
Jamil Music
413 N Parkerson
Crowley , LA 70526
318-788-0773 V
318-788-0776 F
Jenjillus Music
539 W 163rd St.
New York , NY 10032
212-795-5308 V
Jim McCoy Music
Rt 2, Box 114
Berkeley Springs , WV 25411
304-258-9381 V
Jive Records
9000 Sunset Blvd #300
Los Angeles , CA 90069-5891
310-247-8300 V
310-247-8366 F
Jive Records
700 N Green # 200
Chicago , IL 60022-5861
312-942-9700 V
312-942-9800 F
Jive Records
137-139 W 25th St.
New York , NY 10001
212-727-0016 V
212-727-0743 F
Joey Boy Records, Inc
3081 NW 24th St.
Miami , Fl 33142
305-635-5588 V
305-633-7127 F
Justice Music
11586 Blix St.
North Hollywood , CA 91602-1006
818-762-6850 V
818-762-6747 F
K-Tel International , Inc
2605 Fernbrook Lane North
Minneapolis , MN 55447
612-559-6800 V
612-559-6848 F
Kaper Records
3423 Piedmont Rd,Ste 210
Atlanta, GA 30305-1742
404-266-9668 V
404-266-1896 F
Kommunication Koncepts
Box 2095
Philadelphia , PA 19103
215-848-7475
215-438-4607
L&A Records
P.O. Box 296
324 Godwin Ave
Midland Park , NJ 07432
201-670-0778 V
201-670-0447 F
L.A. International Records
P.O. Box 725
Daytona Beach , Fl 32115-0725
904-252-4849 V
Lenchmob Records
16161 Ventura Blvd .,#870
Encino , CA 91436
818-386-6990 V
818-386-6999 F
Light & Sound Music Publishers, Inc
39 S Lasalle St. # 825
Chicago , IL 60603
312-280-0808 V
312-280-9191 F
Loud Records
8360 Melrose Ave., 2nd Fl
Los Angeles , CA 90069-5421
213-653-0891 V
213-653-6250 F
Loud Records
841 Broadway , # 602
New York , NY 10003
212-475-0013 V
212-475-2963 F
Luke Records
8400 NE 2nd Ave
Miami , Fl 33138
305-757-1969 V
305-757-3456 F
M&M Music Group
1410 2nd St. # 300
Santa Monica , CA 90401-2302
310-393-7006 V
310-393-7805 F
M.Bernstein Music Publishing Co.
2170 S. Parker Rd. Ste.115
Denver , CO 80231
303-755-2546 V
303-755-2617 F
Madam G Productions/Records
3135 Scenic Lake #15
Ann Arbor , MI 48108
313-973-8415 V
313-973-1823 F
Makers Mark Gold
3033 W Redner St.
Philadelphia , PA 1
215-236-4817 V
Mammoth Records
Carr Mill , 2nd Floor
Carrboro , NC 27510-1804
919-932-1882 V
919-932-1885 F
Martin Music Company
2505 East Tyler
West Memphis , AR 72301
501-735-0646 V
901-758-5103 F
Mascott Records
166 5th Ave
New York , NY 10010
212-675-4038 V
212-675-4826 F
Master Entertainment Companies ,
Inc
2117 L St. NW , Suite 281
Washington , DC 20037-1302
202-364-0745 V
202-364-1362 F
Maverick
8000 Beverly Blvd
Los Angeles , CA 90048-4506
213-852-1177 V
213-852-1505 F
Maverick
1290 Ave of the Americans 9th Fl
New York , NY 10019-6000
212-399-6973 V
Maybach Entertainment Group
14726 Cedar Branch Way
Orlando, FL 32824
407- 240-3990 V
MCA Records
1755 Broadway , 8th Fl
New York , NY 10019
212-841-8000 V
212-841-8181 F
MCA Records
60 Music Sq E
Nashville , TN 37203
615-244-8944 V
615-244-4428 F
Mecca Don Entertainment
920 Blairhill Rd Bldg 114
Charlotte , NC 28217- 1563
704-527-1008 V
Mertis Music Company , Inc
P.O. Box 21748
Detroit , MI 48221
313-862-5880 V
Metro Records & Recording Co
216 3rd Ave N
Minneapolis , MN 54401
612-338-3833 V
612-338-4235 F
Mia Mind Music
500 1/2 E 84th St. # 4B
New York NY 10028-7368
212-861-8745 V
212-861-4825 F
Midwest Records , Inc
P.O. Box 44198
Detroit , MI 48244-0198
313-832-4290
Mind Field Records
500 1/2 E 84th St. RM 4B
New York , NY 10028
212-861-8745 V
212-439-9190 F
Missile Records
Box 5537, Kreole Station
Moss Point , MS 39563-5537
601-475-2098 V
601-475-7484 F
Monarch Recordings
406 Centre St.
Boston , MA 02130
617-983-9999
Moneytime Records
742 Rowley St.
Owosso, MI 48867
517-723-1796
Motown Music Publishing
825 8th Ave ., 28th Fl
New York , NY 10019
212-603-7800 V
212-603-7801 F
Motown Records
6255 Sunset Blvd , 17th Fl
Los Angeles , CA 90028
213-468-3500 V
213-856-0341 F
Motown Records
1350 Ave of the Americas , 20th Fl
New York , NY 10019
212-424-2000 V
212-397-7297 F
Music Sales Corp.
225 Park Ave S
New York , NY 10003
212-254-2100 V
212-254-2013 F
Muzak Records
400 N 34th St. # 200
Seattle, WA 98103
206-633-3000 V
206-633-6216 F
N.A.M. E Brand Records
Box 26034
Richmond , VA 23260
804-355-3586 V
804-355-7240 F
Namrac Music
15456 Cabrito Rd
Van Nuys , CA 91406
818-787-6436 V
818-787-3981 F
Nebo Record Co
P.O. Box 194
New Hope , Al 35760
Nep-Tune Records , Inc
Box 3011
Country Club , IL 60478
708-798-9408 V
New Deal Music
10202 W. Washington Blvd
Capra # 201
Culiver City, CA 90232
310-280-4522 V
310-280-1821 F
New Experience Records
Box 683
Lima , OH 45802
219-424-5766 V
Next Plateau Records
1650 Broadway , # 1201
New York , NY 10019
212-541-7640 V
212-315-0286 F
Nicoletti Music Co.
P.O. Box 2818
Newport Beach, CA 92659-2818
714-494-0181 V
714-494-0982 F
Noo Trybe
349 S Port Cir # 110
Virginia Beach , VA 23452-1161
804-490-2322 V
804-490-2775 F
NPG
7801 Audubon Rd
Chanhassen , MN 55317-8201
612-470-6204 V
612-470-2467 F
Ocean Records , Inc
Box 190944
Roxbury , MA 02119
Off-beat Records , Inc
360 Cold Spring Ave.
W. Springfield , MA 91099
413-781-2208 V
413-761-2057 F
Okapi Records
Box 20814
Boulder Creek , CA 95006
408-338-4719 V
Omni 2000, Inc
413 Cooper St.
Camden , NJ 08102
609-963-6400 V
609-964-3291 F
On The 5 Records
6450 N Mozart
Chicago, IL 60645
312-764-8735
On The Rise Records , Inc
Box 295
Inwood , NY 11696
One Hot Note Music , Inc
454 Main St. Box 216
Cold Spring, Harbor , NY 11724
516-367-8544 V
516-367-8507 F
Outstanding Records/ Morrhythm
Record
P.O. Box 2111
Huntington Beach , CA 92647
714-842-8635 V
714-842-8635
PDS Records
P.O. Box 444
Bronx , NY 10451-0444
800-473-7550 V
800-408-7910 F
Peer Music
8159 Hollywood Blvd
Hollywood , CA 90069-1609
213-656-0364 V
213-656-3298 F
Peer Music
810 7th Ave , 9th Fl
New York , NY 10019
212-265-3910 V
212-489-2465 F
Perspective Records
1416 N La Brea Ave
Hollywood , CA 90028-7596
213-856-7164 V
213-856-2640 F
Perspective Records
825 Eighth Avenue
27th Floor
New York , NY 10019
212-333-1328 V
212-333-1340 F
Platinum Edge Music Group
Box 24847
Nashville , TN 37202
615-329-2514
615-327-2710
Playdees Records
137 Sneden Pl W
Spring Valley , NY 10977-3902
212-714-8158 V
Playdes Records/
Publishing
P.O. Box 1064
Bronx , NY 10451
212-714-8158 V
It’s
My
Turn
Polygram Music Publishing Co.
54 Music Sq E. #200
Nashville ,TN 37203
615-256-7648 V
615-255-8546 F
Polygram Records
625 8th Ave , 27th Fl
New York , NY 10019
212-603-3900 V
212-333-8249 F
Power Move Productions / PMP
8489 W. 3rd St. # 1007
Los Angeles , CA 90048
213-951-0656 V
213-951-0462 F
Power Play Promotions
Rt. 1 , Box 187-A
Whitney , TX 76692
817-694-4047 V
817-694-2522 F
Priority Records
6430 Sunset Blvd , Suite 900
Hollywood , CA 90028
213-467-0151 V
213-856-0150 F
Quan-Yaa Records
Box 16606
Philadelphia , PA 19139-0606
215-747-2256 V
215-471-0415 F
Rap Records
17955 NW 7th Ave
Miami , Fl 33169
305-652-9760 V
305-653-1899 F
Rap-A-Lot Records
11902 Jones Rd, # L221
Houston , TX 77070
713-890-8486 V
713-890-5363 F
RCA Records
6363 Sunset Blvd
Hollywood , CA 90028
213-468-4000 V
213-468-4040 F
RCA Records
385 Elliot St.
Newton Upper Falls, MA 02164
RCA Records
1099 Wall St. W
Lyndhurst, NJ 07071
RCA Records
1540 Broadway
New York , NY 10036
212-930-4000 V
212-930-4161 F
RCA Records
1 Music Circle N
Nashville , TN 37203
615-664-1212 V
615-664 -1276 F
RCM Records
P.O. Box 4735
Austin , TX 78765
512-452-2701 V
512-452-0815 F
Reiter Records , Ltd
454 Main St. Box 216
Cold Spring Harbor , NY 11724
516-367-8544 V
516-367-8507 F
Relativity Recordings
76 Fifth Ave
16th Floor
New York , NY 10003
212-337-5300 V
212-337-5373 F
Relativity Records
20525 Manhattan Pl
Torrance, CA 90501
310-212-0801 V
310-782-9429 F
Relativity Records
187-07 Henderson Ave
Hollis , NY 11423
718-217-3600 V
718-740-1795 F
Roc-A-Fella Records
825 8th Ave, Floor 29
New York, NY 10019-7472
212-333-8000 V
Roughrider Entertainment , Inc
Box 56742
Sherman Oaks, CA 91413
818-995-3468 V
818-995-7342 F
Rounder Records
1 Camp St.
Cambridge , MA 02140
617-354-0700 V
Rowdy Records
75 Marietta St. NW 6th Fl
Atlanta, GA 30303
404-521-3277 V
404-525-4480 F
Ruff house Records
129 Fayette St.
Conshohocen , PA 19428
610-940-9533 V
610-940-6667 F
Rufftunes Music
129 Fayette St.
Conshohocen , PA 19428
610-940-9533 V
610-940-6667 F
Score Productions , Inc.
3340 Peachtree Rd, NE , Suite1800
Atlanta , GA 30326
404-266-8990 V
404-266-8683 F
Sicamericana Corp
4960 SW 72nd Ave.,Ste. 204
Miami , Fl 33155-5549
305-823-8147 V
305-558-0469 F
Sire Records
3300 Warner Blvd
Burbank, CA 91505
818-953-3305 V
818-953-3306 F
Sire Records
75 Rockerfeller Plaza , 21 st Fl
New York , NY 10019
212-275-4560 V
212-581-6416 F
Slater Records
261 Peachtree Dr.
Riverdale ,GA 30274
770-471-4874 V
770-451-3929 F
So So Def Productions Inc.
P.O. Box 491048
Atlanta , GA 30349
404-719-9617 V
404-719-0075 F
Songcastle
Music/Christmas
Holiday
Music
3517 Warner Blvd .#4
Burbank , CA 91505-4636
213-849-5381 V
818-848-7234 F
Sony Music
2100 Colorado Blvd
Santa Monica , CA 90404
310-449-2100 V
310-449-2743 F
&
Sony Music
34 Music Sq E
Nashville , TN 37203
615-742-4321 V
615-742-4338 F
Sony Music , Inc
8700 Simmons Freeway , Ste. 309
Dallas , TX 75247
214-634-1700 V
Source Records , Inc
39 S Lasalle St.#825
Chicago , IL 60603
312-280-0808 V
312-280-9191 F
Southern Tracks Records
3051 Clairmont Rd NE
Atlanta , GA 30329
404-325-0832 V
404-325-1075 F
Spectrum Music Video
P.O. Box 1128
Norristown , PA 19404
800-846-8742 V
610-272-6074 F
Splatter Records & Publishing
P.O. Box 2294
Tacoma , WA 98401
206-383-5420 V
206-383-5431
Step Sun Music Entertainment
14 E. 4th St. # 300
New York, NY 10012-1155
212-353-2900 V
212-353-0201 F
Stricktly Rhythm Records , Inc
920 Broadway , St. # 1403
New York, NY 10010
212-254-2400 V
212-254-2629 F
Sugar Hill Records
96 West St.
Englewood, NJ 07631
201-599-5170 V
SugarHill Records , Inc
Box 55300
Durham, NC 27717-5300
919-489-4349 V
919-489-6080 F
The Rambolt Music International
1817 Loch Lomond Wy
Las Vegas, NV 89102-4437
702-384-0030 V
702-384-1926 F
Transition Music
6255 Sunset Blvd
Hollywood, CA 90028
213-463-9780 V
213-463-1926 F
Transitions Music
Box 8532
Atlanta, GA 30306
404-355-4242 V
404-355-0795 F
Transworld Records
2170 S.Parker Rd # 115
Denver, CO 80231
303-755-2546 V
303-755-2617 F
Transworld West Music Group
1102 North Branch Blvd , # 83
Glendale, CA 91202
818-543-7538
Tuff City Records
200 W 72nd St. #56
New York, NY 10023
212-721-7215 V
212-721-6150 F
UAR/ Universal - Athena Records
Box 1264
Peoria, IL 61654-1264
309-673-5755 V
309-673-5755 F
Uptown Records
729 7th Ave 12th Fl
New York, NY 10019-6831
212-997-0097 V
212-997-1882 F
Virgin Records
338 N Foothill Rd
Beverly Hills, CA 90210
310-278-1181 V
310-278-6231 F
Virgin Records
1790 Broadway , 20th Fl
New York, NY 10019
212-586-7700 V
212-765-0989 F
Warner Bros. Records
3300 Warner Blvd
Burbank, CA 91505
818-848-9090 V
818-846-8474 F
Warner Bros. Records
75 Rockefeller Plaza
New York, NY 10019-6908
212-275-4500 V
212-275-4596 F
Warner Bros. / Reprise Records
1815 Division St.
Nashville, TN 37203
615-320-7525 V
615-329-1739 F
Warner/ Chappell Music
1290 Ave of the Americas, 9th Fl
New York, NY 10019
212-399-6910 V
212-315-5590 F
Whitewing Music
413 N Parkerson
Crowley, LA 70526
318-788-0773
318-788-0776
Windswept Pacific Entertainment
9320 Wilshire Blvd, #200
Beverly Hills, CA 90212-3216
310-550-1500 V
310-247-0195 F
Wrensong Publishing Corp.
1229 17th Ave S
Nashville, TN 37212-2801
615-321-4487 V
615-327-7917 F
V = Voice F = Fax
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