This is what he claimed he would do for me:
BASIC AGREEMENT / PROMISE
In order to secure the best possible recording contract for Randy Gibson from a record company with credible and effective distribution in the US and in Europe, John Hug agrees to use all of his powers and all of the resources available to him including, but not limited to, his relationships with the following individuals and companies:
Warner Bros. V2 (Richard Branson)
Elektra Entertainment Vanguard
Sony / BMG Music Group Southern Signal Entertainment
Warner Chappell Broken Bow Records
Universal Music Group Equity Records
Def Jam Artemis
Bad Boy Tommy Boy
Virgin Koch Entertainment
EMI/Capital Records Atlantic
Jim Ed Norman – President Warner Bros. – 21 Years
Bruce Hinton – President MCA – 20 Years
Randy Talmadge – Current President Livingston Music, former President Warner Pub.
David Landau – Sr. VP Soundtracks – Arista
Clive Davis – Owner J Records NYC
Bill Champlin – Lead Singer Chicago, Grammy award winning songwriter Earth, Wind & Fire.
Tony Brown – Grammy award winning producer
Don Was – Producer Rolling Stones, Bonnie Raitt, “Nick of Time (LP)”
Trevor Veich – Songwriter Whitney Houston “How Will I Know”, Laura Brannigan “Gloria”
John Jarvis – Grammy award winning songwriter.
Tom Nilsen – Sr. VP Administration PolyGram
Bob Skorro – Former Sr. VP A & R PolyGram NYC
Tommy LiPuma – Producer Anita Baker, George Benson
Russ Titleman – Producer Eric Clapton “Tears in Heaven”, Ricky Lee Jones, James Taylor
Jeff Baxter – Former member Steely Dan and Doobie Brothers
Charlie Springer – Former Sr. VP Sales, Warner Bros. North America
Deborah Wagnon – Lead
…many more ☺
The goal is not only to secure a recording contract for Randy Gibson but to gain information helpful in determining the “right” situation for his lifestyle and long-term goals as an artist. Therefore, prior to sending tapes to A & R staff, Hug recommends and agrees to thoroughly research the current state of affairs in the alternative rock market at both major and mid-level independent record companies first in the US and if necessary, in the UK.
Prior to moving back to Los Angeles, Hug spent 5 years traveling to London 4 times per year. As a result, Hug has cultivated relationships in the UK as well including Sony UK, EMI UK, Virgin UK, V2 as well as the MU (Music Union) and Equity (Singers Union).
THE BASIC PLAN (to be altered at our mutual discretion)
The basic plan is to create a “buzz”. We generate actions on a number of fronts. These actions then, in turn, generate record company/distribution interest which is our primary goal.
In order to accomplish this I recommend the following steps…
PHASE ONE: Research
PHASE TWO: Create a “Buzz” (action and activity)
PHASE THREE: Secure Distribution / Label Deal
Radio Stations / Program Directors
Labels / A & R Staff
RADIO STATIONS / PROGRAM DIRECTORS
As college radio was to alternative rock, independent and smaller alternative rock radio stations may play un-signed and un-released product. This will be an advantage if handled in the right way. We don’t, of course, want to get so much airplay that we are not able to provide product to a hungry fan base (which will be a “quality problem” if it occurs). The point is that if we can get radio play on stations that spin indie tracks like Randy Gibson’s, bigger distribution will be much more confident in offering Randy Gibsona deal and backing his career.
There are even some record stores that will allow independent product to be sold on their shelves. Tower Records in Nashville is such a store believe it or not. Local artist who have produced their own CD’s are allowed to sell the product in Tower (after staff approval) on consignment. This gives indie radio audiences an opportunity to buy tracks they hear on the radio without major distribution.
The point is that we should provide some vehicle by which listeners can obtain product even if it is only via the internet.
I have been lucky to stay in touch with a few top radio promotion people in the US over the years. With their help, I will contact both these indie radio stations but additional alternative rock record promoters as well.
LABELS / A & R STAFF
From the onset we need to begin looking for the right label/distribution home for Randy Gibson. The biggest mistake is to simply sign with “whoever” wants Randy Gibson. Instead we want not only who wants him as an artist but also a label who shares the same vision and that also has a track record of “walking the walk” and not just “taking the talk”. A label that delivers on their initial promises in terms of marketing and promotion not only in dollars but also in concept.
This is an important task. The list of contacts I have in this area is too vast to list although some are listed in the first paragraph of this letter. Methodically, Hug will quickly assemble the most likely candidates and contact the individuals most known to him first and work down the list. Before we deliver product for review, we want to know as much as possible about the people who will be listening.
There are scores of labels and record companies in the US. More than 10, 000 to be exact. This is a big job that can be managed sensibly using the contact base at hand.
I would like to have the aforementioned tasks of Randy Gibson’s record being played in clubs and on indie radio prior to contacting the major companies. THIS IS THE LAST STEP…not the first.
I recommend that we do not give the entire repertoire of Randy Gibson’s CD to any one company at first. Further, I suggest that we do not contact all possible record companies in the beginning. This way, we are able to alter strategy if necessary, based on feedback and information gained from the aforementioned research.
A great manager is worth his or her weight in gold. A bad manager is like an annoying and drunk person at a meditation party. Save to say the goal is to find the former. However, I don’t necessarily recommend that Randy Gibson sign with a manager just now but rather that we obtain as much career guidance as possible from a “great” manager.
The manager does NOT have to be alternative rock-specific. Great management crosses genre barriers. My contact with Jim Ed Norman alone will be sufficient in this area. As the 21-year President of Warner Bros. Nashville, Jim Ed has met and worked with just about all top management teams in the business and what he doesn’t know, he will provide resources that do.
If you more information about Jim Ed’s credibility, please use this link…
or this one…
Or search Google yourself.
If you haven’t done so already, create a name for your publishing company and join BMI or ASCAP. This way, Randy Gibsonmay receive performance rights for airplay on radio and in the clubs early on. It doesn’t hurt to prepare.
Hug estimates that during the first 120 days, literally hundreds of individuals may be contacted regarding some aspect of this project. Once contact is established it is essential that Hug be available for ongoing exchanges first on a creative basis and later on a business basis.
Hug agrees to work as long as it takes to be certain that this project has all possible opportunities for success.
Hopefully, we can obtain not only the record contract that best suits Randy Gibson’s needs as an artist and personally, but also the funds necessary to continue recording in which case, Hug would love to be involved as a producer.
JOHN HUG DATE
He never did any of these things and then moved from the valley. I got a judgment against him in 2010 but was never able to collect.
he now supposedly lives at 1248 5th St, Santa Monica