Connect with John Kalodner




The Beatles -
Bruce Springsteen -
Billy Joel -
Eagles -
Jackson Browne -
David Bowie -
Queen -
Philadelphia Inquirer -
Freddie Mercury -
The Who -
Led Zeppelin -
Aerosmith -
Atlantic Records -
Danny Goldberg -
Swan Song Music -
Earl Mcgrath -
Foreigner -
Jerry Greenberg -
Jimmy Douglass -
Phil Carson -
Feels like the first time Foreigner - Feels Like The First Time (Official Music Video)
Jason Flom -
Bud Pregar -
Boston -
Mick Jones -
George Marino -
Clive Davis -
Cindy Lauper -
Bob Greenberg -
Huey Lewis -
Ozzy Osbourne -
Black Sabbath -
Randy Rhoads -
David Geffen -
Don Arden -
Jane’s Addiction -
Tom Zutaut -
Ahmet Ertegun -
Jerry Wexler -
Crosby, Stills & Nash -,_Stills,_Nash_%26_Young
Warner Brothers -
Mo Ostin -
Asylum Records -
Sammy Hagar -
Asia -
Brian Lane -
Steve Howe -
Yes -
Carl Palmer -
Geoff Downes -
John Wetton -
Mike Stone -
Rick Rubin -
Run-DMC -
Permanent Vacation -
Get A Grip -
Rob Cavallo -
Green Day -
David Coverdale -
Madness -
Wang Chung -
Grateful Dead -
The Kinks -
Berlin -
Arista Records -
David Massey -
Jack Hues -
Chris Hughes -
Tears for Fears -
Mutt Lange -
Def Leppard -
Highway to Hell -
Back in Black -
Van Halen -
Nelson Twins -
Ed Rosenblatt - (record executive)
Tim Collins -
Ted Templeman -
Done with Mirrors -
Whitesnake -
Steven Tyler -
Tom Hamilton -
Joey Kramer -
Brad Whitford -
Dude Looks Like A Lady Aerosmith - Dude (Looks Like A Lady) (Official Music Video)
Janies Got a Gun Aerosmith - Janie's Got A Gun (Official Music Video)
Love in an Elevator Aerosmith - Love In An Elevator (Official Music Video)
Angel Aerosmith - Angel (Official Music Video)
Rag Doll Aerosmith - Rag Doll Official Video
Get a Grip
Taylor Rhodes -
Cryin’ Aerosmith - Cryin' (Official Music Video)
Paul Simmons -
Bruce Fairbairn -
Brendon O’Brian - Brendan O'Brien (record producer)
The Rolling Stones -
Mick Jagger -
Keith Richards -
Steve Perry -
Neil Schon -
Lou Gramm -
Mick Jones -
Juke Box Hero Foreigner - Juke Box Hero (Official Music Video)
Urgent Foreigner - Urgent (Official Music Video)
Waiting for a Girl Like You -
I Can’t Drive 55 Sammy Hagar - I Can't Drive 55 (Official Video)
William Friedkin -
*Live and Die in LA Wang Chung - To Live And Die In L.A.
Desmond Child -
Europe -
Sony -
Martin Birch -
Mike Stone -
John Sykes -
Keith Olsen -
Slide it in -
Here I Go Again Whitesnake - Here I Go Again '87 (Official Music Video)
Rudy Sarzo -
Tommy Aldridge -
Steve Vai -
Adrien Vandenberg -
Rupert Perry -
Cher -
Jon Bon Jovi -
Richie Sambora -
Michael Bolton -
Barry Gibb -
Giorgio Moroder -
Peter Asher -
After All Cher, Peter Cetera - After All (Lyric Video) [HD] [HQ]
Peter Cetera -
Don Lenner -
Neil Young -
Taylor Swift -
Lady Gaga -
Jason Aldean -
Eric Church -
The Eagles -
Don Henley -
Glenn Frey -
Vince Gill -
Shawn Colvin -
Sunny Came Home Shawn Colvin - Sunny Came Home
John Leventhal -
Breaking Bad -
Vince Gilligan -
X-files -
Keith Urban -
Justin Bieber -
Greta Van Fleet -
Robert Plant -
Double Vision Foreigner - Double Vision (Official Music Video)



(RITCH) Don, you started your legal career as a Tax Attorney – what motivated you to become a Music Business Attorney – specifically one that represented artists, songwriters and musicians?

(RITCH) What year was that that you got into music?

(ERIC) In 1991, You literally wrote the book “All You Need to Know About the Music Business” that has become “THE INDUSTRY STANDARD AND WHAT SOME HAVE CALLED A BIBLE for artists, songwriters, musicians, music business professionals as well as Music Business Students everywhere – ALL who have been using the 9 editions that have come out since it was published– What inspired you to write the book originally?

(RITCH) You’ve recently released the 10th Edition of the book and I think it’s fair to say that it’s your most radical and comprehensive update since you’ve published it – What facilitated such a dramatic update?

(ERIC) How long did it take you to do this rewrite?

(RITCH) What kind of feedback have you gotten from people who are using the book, especially people who are using it as a teaching text?

(ERIC) There are now several foreign versions of your book as well – How does that work? Do you apply the laws of the country to the text?

(ERIC) Are your international co-authors attorneys as well?

(RITCH) The move from a Copy Model to an Access Model or streaming has been one of the most revolutionary changes in the music business – And with any revolution, not only do you see a change of habits but on a deeper level you also see a shift in values – and one of the big challenges for the music business in a streaming world is going to be the war between the value of PAID subscription vs: popular reach. What are your thoughts on this issue and how do you see this playing out?

(ERIC) Don, Do you feel that the Music Industry is in a Healthy place today?

(RITCH) Do you feel that ultimately we will surpass the old industry peak?

(RITCH) So much of music services today are coming to you bundled from the phone company or something else, like a cable system, and that margins and the final royalty rates that they pay you are being squeezed, is this something that you see continuing?

(RITCH) Don, today, do you feel that Artists need to do a lot more work on their career BEFORE they can attract a label? Major or Independent?

(RITCH) Are you finding in terms of your work, more and more artists perhaps not wanting to go the traditional route of getting a label to release their music and wanting to do deals with perhaps other entities? Or is that just not happening?

(ERIC) When does an Artist need a Music Attorney?

(RITCH) What kinds of qualities or what specific attributes or specific elements should an artist or a songwriter be looking for in a Music Attorney that they’re wanting to hire to represent them?

(RITCH) Many new artists don’t realize when they are signed to a recording contract by either a Major Label or a significant number of Independent Labels that they are signing a 360 deal. Can you explain exactly what that means for them today? What are your personal thoughts on the 360 concept for new artists?

(RITCH) Many new artists don’t realize when they are signed to a recording contract by either a Major Label or a significant number of Independent Labels that they are signing a 360 deal. Can you explain exactly what that means for them today? What are your personal thoughts on the 360 concept for new artists?

(RITCH) Are there examples where it will just strictly be a recording contract rather than involving other aspects of that artist’s career or is that just sort of history?

(RITCH) Do you find that the willingness of labels in regards to these kinds of deals is more flexible today with new artists or is it as you say, is it all just a matter of your clout as an artist?

(ERIC) Don, another area of the music industry that has dramatically shifted within the last decade or so for artists / bands at all levels of their career is the economic value of live performance. Given this - are artists and their managers looking closely today at the expense deductions by concert promoters?

(RITCH) Do you find that new artists & songwriters are more educated on the business side of their career today than in previous eras?

(RITCH) Do you find that the artists that really have no interest in business and it bores them completely, are those more experienced artists who have good representation to handle that, or brand new people? Or is it both?

(ERIC) Don, Can you speak to the WIDER DIVERSITY of deals transacting today for artists and bands than in previous eras? (Publishers owning masters, Label services (Kobalt/AWAL, etc.)

(RITCH) Are artist deals with labels and publishers easier or more difficult for you to make today than in previous eras?

(RITCH) What’s new with artist royalties – especially for streaming? Is there any more transparency today than in the past on this front?

(ERIC) Don, The MMA (Music Modernization Act) is the 1st dramatic change in copyright law in a few decades. 2 Part Question – (1) What are the most important points for songwriters to be aware of and (2) Does the new edition of your book address the most important aspects of the MMA?

(RITCH) A big point of contention in MMA establishment was Black Box Money. Can you tell us what that is and do you see the rules around its distribution changing as we move to a more on-line digital landscape?

(ERIC) Don, Music Publishers in the US are in the midst of having their consent decrees evaluated by congress. If publishers come to directly negotiate those rights how do you feel it will affect the global market?

(RITCH) Consent Decrees in terms of ASCAP and BMI, do they specifically pertain only to Terrestrial Radio or to streaming services?

(RITCH) Don, You’ve said that “Traditional Terrestrial Radio will become much more hyper-localized” than in the past but it will be widely challenged” Can you elaborate on this?

(ERIC) Don, besides your great Book “All You Need to Know About the Music Business” are there any books or films that have really resonated with you professionally speaking - that you could recommend to our audience?

(ERIC) Don, What advice can you offer our listeners who are wanting to pursue a career as an artist or a musician in the music industry?

(RITCH) What keeps you motivated and passionate in your career at this point moving forward? What is it about, is it music or is it the industry or is it the people or relationships that keeps you going? I mean you’re at the top of your profession and you have been for decades so what is it that keeps you moving forward?

(RITCH) It’s been said that the next evolution or revolution of the business isn’t going to be a format or a better device or a better platform but it’s going to be about a different kind or a better experience, whether that’s with the role of AI (artificial intelligence) coming into music or virtual reality. Do you have any thoughts on that in terms of what you’re seeing from your side? I mean you’re on the front lines of that with so many different types of companies and deals, what’re your thoughts on that?

(RITCH) What are your thoughts on holograms and post-mortem touring from a legal standpoint and have any clients come to you with questions about this either saying ‘yes, I want to do this,’ or ‘no, I want you to specifically make it legally that I can’t be put into a hologram after I’m gone’?

(ERIC) Do you see that that’s something that could be built into contracts in the future?

(RITCH) What advice would you offer our listeners who are wanting to pursue a career as a Music Attorney?



“As I was becoming more and more successful and having some mistakes, unlike most people I just learned from my mistakes. I was really appalled at my mistakes and I vowed that I wouldn’t do the same thing twice and make the same mistake twice”

“No one has the instincts for anything about business, talent or anything else that I’ve ever seen that David Geffen has”

“David Geffen is the smartest person that I have ever encountered in my life”

“I was really focused on whether you could hear the melody and if it was a hit melody and hit lyrics or not”

“You get a lot of the bad feelings from artists because you had to tell them that their songs were not good or they had to redo them”

“All great art comes from immense psychic pain”



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