Sales Process

Sales people walk through a process each and every time they present their product to a potential client. However why are some sales people successful and some unsuccessful? The unsuccessful ones typically  don’t follow theSales Cycle. They do not follow the path to sales. They skip a step and try to make up for it on other steps.

Sales Trainers frequently talk about the Sales Cycle, however depending on the product sold or market discussed, they may name the steps something different, but  the steps are basically the same.  The path to the successful out come you are looking for is mere steps away.

So what are the steps of the sales cycle and how do they work?

1. Get Acquainted : get comfortable with each other.

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2. Brief: Look for  favorable circumstances. Is everybody who needs to be there present? Ect.
3. Find the emotional need
4. Fill the emotional need
5. Close

What is the point of making sure all these steps are completed?

Well for example, let’s say you decide on trying to skip the brief step. You go though the process and the potential client tells you. Sounds great but I need to talk to my wife about this.  Because you skipped that step, you theoretically shot yourself in the foot. How can you effectively close the sale when everybody necessary to close the sale are not there? The answer is you can’t.
Moving systematically from one step to the next insures you increase your odds of making the sale. In most sales processes, most sales people spend the majority of time finding prospects to sit down with to sell. Doesn’t it make sense to spend the appropriate amount of time necessary to moving you methodically from one step to the next in the Sales Cycle making sure you cover your bases and growing closer to the sale you worked so hard to set up?

Behind the music: Turning a studio performance into recorded magic

Last week, Trevor Horn and Steve Lipson explained how to get the best from a singer. This week, they turn their attention to conjuring the perfect cut from the instrumentalists

Holly Johnson performing with Frankie Goes to Hollywood in 1980. Photograph: David Redfern/Redferns

When the legendary producer Trevor Horn first saw Frankie Goes to Hollywood on the 80s TV show The Tube he was intrigued, though, he says, he did think their performance was very sexist. After hearing them again, doing a live session of Relax on the radio, he was convinced they had something special. "It was quite a different version of the track, but Holly [Johnson] was a good singer. And then we discovered nobody wanted to sign them – mainly because they were pretty hardcore gay. Their pictures were … their bums came through their trousers and there was a guy with a knife instead of a penis."

"Even the guys who weren't gay were pretty hardcore," adds Horn's longtime collaborator Steve Lipson.
Horn, however, wasn't put off by the bands risqué image, and signed them to his new label, ZTT, in 1983. What no one had told him was that the band he signed wasn't the same band that played on the demos he'd heard. The guitar player had left just two weeks before. No problem – Horn put together a session band of his usual collaborators, including Lipson, to record the backing tracks.

"The Frankies were very affable about it," shrugs Horn. "We played them a mix where we'd put an audience track on it, telling them: 'This is you playing at Madison Square Garden.' They laughed and declared: 'We're fucking great!'

"As time went by they started to play. They started to get better, but just as they got to a place where they could play their own music they fell out. They fell out in a way that they've never been able to fix up ever since. I remember backstage at Wembley, when Holly [Johnson, the singer] had a bodyguard in case Mark [O'Toole, the bassist] tried to kick him."

By the time they recorded their second album, Johnson was largely absent from the studio, Lipson says. He even said he'd need two days' notice if they wanted him there. Soon after, the band members went their separate ways, but one of the tracks they'd recorded but not released became a worldwide hit – albeit with a different artist, who herself was not adverse to controversy.

Grace Jones's million-selling record Slave to the Rhythm created a whole new sound for her – a sound many others tried, and failed, to emulate. Creating it was an arduous task, however (though not for Jones, who, according to Lipson, showed up for as many hours as the number of months he and Horn worked on the record: nine).

Though the track eventually spawned a concept album, featuring different interpretations of the track, it was only brought to the attention of Chris Blackwell, the owner of Jones's record label, Island, when he was looking for a single for her greatest hits album. Horn dug up a track Bruce Woolley had written for Frankie Goes to Hollywood.

"The original recording had a very Germanic beat, and it was pretty obvious it wasn't going to work for them," says Horn. "I thought that if it was called Slave to the Rhythm it should be a better rhythm – and the only rhythm I could think of that was good enough was Go-go music, which was really happening at the time.
"It was such a daft idea when I look back on it. We had a band of really great Go-go musicians: some people from Experience Unlimited, some from Trouble Funk … and they could all really play – but nobody could remember an arrangement. In fact, they were baffled by the idea of an arrangement. They just started, kept going and then they stopped."

And they'd all play together all the way through, with all instruments leaking into the drum microphones. "At one point the guitar player went to the toilet for about two or three minutes, and that ended up being the only time we had the groove without the guitar all over the drums," says Lipson. "That was our window of opportunity to make a loop out of that little bit and make a rhythm track out of it."
"Story of our lives," sighs Horn.

Horn had recorded the bits he liked on his cassette player and played it for Woolley, who swiftly rewrote the song over it. "I loved it when he played those chords at the start," Horn reminisces. "We left the studio went back to the Parker Meridian hotel with a load of equipment, went upstairs and finished the song. Literally, the first day we got everything out of that Go-go band we were ever going to get."

Whether it's waiting for an artist to come into the studio with a new "girlfriend" at 2am, after a night out, to be able to record their vocals or playing all the instruments on the record because the band can't play, Horn and Lipson have spent far, far more time in studio than any of the artists they worked with, perfecting their records.

"I was having a conversation with an old rock star, who shall remain nameless, a couple of weeks ago in the kitchen at Sarm [Horn's studio]," Horn says. "He was talking about how they spent a year making a record and how they all got completely wasted. He said: 'But you know all about that – you got wasted and took ages over things.' I shook my head, and said: 'I took ages over things but they were generally successful – and I was working, not getting drunk.'"

Behind the music: how to make a singer sound great

Super-producers Trevor Horn and Steve Lipson on the subtle art of coaxing an outstanding performance from a singer

When technology companies say artists should view recorded music as a promotional tool and make their living by touring, they forget that making records is almost always a group effort. The person who pulls it all together is the producer. Now, three legendary producers have decided to come out of the shadows, releasing an album and touring under the name of, you guessed it, the Producers.

The supergroup – Trevor Horn, Steve Lipson and Lol Creme, along with session drummer Ash Soan – have over the last 40 years racked up more than 200 hit singles and albums between them. Creme, one half of Godley and Creme and a quarter of 10cc, directed some of the most famous 80s videos, including Frankie Goes to Hollywood's Two Tribes. Horn's discography reads like the soundtrack to our lives. A member and producer of Buggles (Video Killed the Radio Star), the Art of Noise and Yes, he produced some of the most groundbreaking records of the past three decades, including Frankie Goes to Hollywood's Welcome to the Pleasuredome and Grace Jones's Slave to the Rhythm, as well as albums by Seal, tATu, Pet Shop Boys and Robbie Williams. Steve Lipson was Horn's right-hand man in the 80s and has since then produced Jamie Cullum and Paul McCartney.

Horn, we learn, is not a fan of Auto-Tune. "There used to be a lot more people who sang out of tune [before Auto-Tune], and there was something quite interesting about that," he says. "Nobody gave a damn back then, because you were used to everything being a little bit out of time and a little bit out of tune. The generic sound of this generation is thin little voices perfectly in tune."

That's not something, though, that Seal can be accused of. But Horn was not impressed the first time he heard him. His wife (and business partner) had been looking for a modern-day Nat King Cole and claimed she had finally found him. She played him the demo of Crazy. "I liked the line, 'We're never going to survive unless we get a little crazy,' but for some reason Seal had put a phaser on his voice and I thought: 'He doesn't sound that good.'"

Still, Horn decided to meet him. "He's an imposing-looking fellow – 6ft 7in. He said: 'Can I play you something I've just written?' He put a cassette in and it was the backing track to Violet. He started: [Horn sings] 'Ooh, I see you comb your hair in different light/ Change the chair and seem to think it's alright.' He was singing it into my ear and I got goose bumps all the way up my back. I said to my wife: 'I've got a musical hard-on.'"

He says he's a great believer in not crowding musicians or jumping on them too quickly – it makes them "turn off" – instead he gives them breathing space. "If you use good people, what comes naturally is what you want," he explains. "And it never, ever helps to lose your temper."

Lipson's tip is to beware of the "the big moment" when recording vocals. He used to produce the American Idol winners' singles, each of them recorded by the four finalists in LA. "I'd have them for two hours. They'd come into the control room. We'd sit and talk for about an hour and 50 minutes. I'd keep an eye on the clock and then they'd go in and do two takes. It worked every time."

"I never used to organise vocal session with Seal, because if I did he wouldn't be there," Horn says. "I'd stay in the same house with him and he'd come back at about 2am. If he brought a girlfriend [into the studio] it was always a great moment. Seal would sing the song to them. I'd say: 'Give me black Elvis,' and he'd do the moves. Robbie [Williams] used to like to have somebody to sing to, too."

For his second album, Seal tried a few other producers before coming back to Horn. "One of them phoned me up, asking: 'How do you get him in the studio? He's been gone for two weeks.' I said: 'He probably doesn't like the tracks, and just hasn't told you. I used to live with him. That's the only way I could get him.'"

He dispels the myth of the tyrant producer. "You're a hired hand. You don't have that much power. If you had a contract that said somebody's got to sing and they wouldn't, and you went to court, you would lose.

They'd say: 'I don't want to sing for him because I don't feel happy singing,' and there would be nothing you could do about it."

• Next article: the secrets behind some of Horn's and Lipson's biggest records

Behind the music: What do record labels actually do? You'd be surprised

For all the cynicism about money-grabbing majors, labels still offer artists the security they need to produce their best work
 
Posted by

Helienne Lindvall

Thursday 2 February 2012 08.12 EST theguardian.com  

 

In good company … Songwriters such as Ed Sheeran prefer the help of labels. Photograph: Hayley Madden/Redferns

In the thread beneath one of my most recent articles about the 2012 report on digital music from the International Federation of the Phonographic Industry, StevieBee123 asked: "Sorry – what exactly do we need record companies for again?" LawlessGreed replied with a question of his own: "If there is no music industry, how are musicians supposed to earn a living from their work?" to which malcolm replied: "Try, ehhh, selling direct to the pubic … no brainer!" That discussion, as well as one I had on Twitter has highlighted a certain confusion regarding what today's record labels actually do.

It's true the internet has been brilliant for artists in many ways, giving them an alternative route to make contact with and sell directly to fans, but record labels do much more than distribute to retailers. I recently spoke to Ed Sheeran's producer, Jake Gosling (more of which will appear in next week's Behind the Music), and asked why Sheeran had decided to sign with Asylum/Atlantic, part of Warner Music Group. After all, by working extremely hard for years the two of them had been able to record numerous EPs on their own, get to No 2 on the iTunes charts with one of them, get millions of hits on his SBTV video for You Need Me as well as win some support from Radio 1 and 1Extra – all without the help of a record label.

"What Ed and I had done without a record company had proven to the label that we could do it on our own, that all we needed was help and support and finance, getting us to more people and being able to pull the strings when needed to get us on a TV show – those moves are harder to do when you're a bit more independent," Gosling explains. This also led to the label taking quite a hands-off approach when it came to the recordings, as Gosling and Sheeran had proved what they did already worked.

There's also something to say for local expertise. I may have understand how the UK, US and Swedish music scenes work, but I know little about the industry in mainland Europe. Though Fleet Foxes decided to sign with SubPop for the US, Simon Raymonde managed to convince them to sign with his label, Bella Union, for the rest of the world, because he had people all over Europe who could work the record in individual territories. Judging by their success in Europe, they made the right decision.

It's also simplistic to say majors are evil while indies are good. What is important is to be on a label that "gets you". "There is a really cliched view out there about record labels," Gosling says. "I can't speak for every label or A&R man, because there are those who will suck the life out of a project, but particularly with Asylum, it was a really good experience."

Recently Azealia Banks went from indie to major and signed with Universal after complaining about her treatment by XL Recordings. I'm sure there are two sides to the story, but whatever those are it's clear that she and XL just weren't a good match for each other.

Over the past decade labels have realised they're not the only game in town and they have to justify their existence. Sure, there are still some of the old guard sitting at the top of the majors, but they all have young online promotion and social media departments (actually, age has little relevance – Martin Mills, the head of Beggars Group, is in his 60s and goes to gigs several times a week).

For artists such as Sheeran and Banks, who have managed to gain a fanbase before being approached by labels, record deals tend to be much more advantageous than the old type of contracts. Some artists retain ownership of their music and some, as in Sheeran's and Labrinth's case, get their own label imprints.

I used to be signed to a major publisher (I signed to BMG, which was later bought by Universal), and though – like most artists – I've had my issues with it through the years, I'm grateful for the opportunity it gave me. I can only imagine walking into a bank asking for a £100,000 loan, saying: "I'd like to use it to pay my living and work expenses for the next four years, so that I can develop my craft by being able to write full-time and work with songwriters all over the world. You'll make it back from the royalties the songs I write during those years will accumulate. And if you don't, I don't have to pay that money back. What? You need some kind of guarantee? Just listen to these new songs I've written." They'd laugh me straight out of the door.
But BMG signed me purely on the belief my songs were good enough to recoup their investment.

Incidentally, they did make it back, and now we split the royalties with me getting more than they do. Universal Publishing even eventually agreed to give me back the songs written during my deal but had not been releasedby the time we parted ways.

The public sees the artist and hears the music, but what they don't see is the whole world of people doing things behind the scenes to help them, Gosling says. "You still need labels. You've got to remember they've got marketing teams, press teams, radio pluggers, accounts departments and when you get bigger you need help with that stuff. You need a good team around you. OK, maybe you could hire those people yourself and set up your own label, but there's something to be said for deciding that you want to make music and be creative, and I don't want the hassle. You can be really creative but not very good at business and marketing. For example, I don't know what Leonard Cohen's business acumen was like."

Even Neil Young, an artist known for taking an anti-corporate stance, recently sang the praises of record companies, when interviewed at a media conference. "What I like about record companies is that they present and nurture artists," he said. "That doesn't exist on iTunes, it doesn't exist on Amazon. That's what a record company does, and that's why I like my record company. People look at record companies like they're obsolete, but there's a lot of soul in there – a lot of people who care about music, and that's very important."

So, what about those artists who complain about the labels? "Those artists should go by themselves," concluded Young. "They have a choice of what they can do. Artists who want to go it alone should just do that."

Why singles sales aren't the good news the music industry claims

Single tracks might be more popular than ever, but it's albums that make money – and sales of full-lengths continue to slump

Broken records … Emeli Sandé's debut is a rare success story in a world of shrinking album sales. Photograph: Chuck Cook/Invision for Essence

Riding on the back of a sport-based feelgood factor (Andy Murray, the cricket, Chris Froome's yellow jersey in the Tour) comes the claim that 2013 is set to be the biggest year ever for single sales in the UK. Hurrah. Champagne all round. Well done, Team GB MP3.

Monstrous digital hits such as Daft Punk's Get Lucky (which took just 69 days to reach 1m sales) and Robin Thicke's Blurred Lines (currently closing in on similar figures) were cited this week by the Official Charts Company as having helped boost single sales at the half-year mark by 2.5% compared with the same period last year.

It's heartwarming stuff for a record business that has been mired in bad news since the millennium – but against the boom in singles, the album (where the real profit margins lie for labels) is not quite in such rude health. Heavy hitters such as the Now That's What I Call Music compilations and Emeli Sandé's seemingly inexhaustible debut might chalk up the numbers, but the reality is that the flourishing of the singles market comes, partly, at the expense of the album.

In 2003 – before digital made an impact on legitimate sales – a total of 30.8m singles were sold in the UK, with the CD single being the dominant format. In the same year, 157.2m albums were sold. Fast forward to 2012 and the story is very different. A total of 188.5m singles were sold in the UK last year (of which 99.6% were digital) – equal to a sixfold increase in under a decade. Album sales, however, stood at just over 100m (30.4% digital), meaning they have shrunk by a third in the same period.

Singles were first to see a significant transfer of sales to digital formats in the UK. Downloads first showed up in the British Phonographic Institute's annual sales figures for 2004 (5.7m sales, or 17.9% of the total) but albums didn't make a digital appearance until two years later (2.8m sales – just 1.4% of the total). Digital has totally revived the singles market and brought it to dizzying new sales heights, but this is still not happening in the albums market. Digital album sales may be growing, but overall sales continue to nosedive.

The obvious reason for this is the way digital formats – or more specifically iTunes, when it arrived in the UK in 2004 – allowed for the unbundling of the album. Consumers could just buy the track (or tracks) they wanted, causing a locust effect on album sales. The single, as in the 1950s, became a key currency again.
Other forces are at play here too – namely pricing and mobile usage – helping to swell single sales but also continuing to make trading conditions for albums more perilous. To download a single today costs anything from £0.59 to £0.99, or even cheaper if there's a promotion on, whereas a decade ago the average price of a single was £3.21. A digital album today costs just twice what a single cost in 2003, without even factoring in inflation – but singles remain the big draw for consumers.

At the same time, Smartphones have dramatically changed music buying. In a few taps and in as many seconds, you can download music straight to your device, finally making "impulse purchasing", something the record business pinned its hopes on years ago, a reality. The Shazam app, through which users can hear a song playing, tag it on their phone and click through to buy it before even getting to the chorus, also makes purchasing a far slicker experience. It clocks up 10m tags a day globally and around 10% of those end in a purchase.

Labels can boast about their deft marketing of singles all they want, but really it's technology and price that have conspired to turn us into frantic singles buyers.

But that's still only part of the story about the way music is now consumed. The UK chart is entirely sales-based, so it does not include streams on services such as Spotify (which recently made its play counts public) or YouTube. Other markets (such as Sweden and the US) have woven streams into their charts but the UK chart, for now, remains uncombined.

Therefore, any cheering about booming singles sales, to make this a truly British story, requires some concurrent moaning and doom-mongering: in the first half of the year in the US, Nielsen SoundScan reports that digital track sales dropped 2.3% year-on-year to 682.2m units. The US properly took to digital before the UK (iTunes launched there in 2003), and what happens across the pond often stands as an indicator of what will eventually happen here. Even if 2013 looks set to break all sorts of records, next year or the year after, the record business's lifeline could soon start to fray.

Behind the music: Is the A&R era over?

Is A&R dead? Consider what happened at a recent meeting between an artist manager and a major label A&R. The A&R commented that he liked the artist's demo; she looked great, had a great voice and he definitely saw potential for success. When he was told that the artist would need some flexibility as she was dealing with a serious illness in the family, the A&R exclaimed: "Put her up for The X Factor – she's guaranteed to be in the final 12!" He implied that he would sign her, eventually, if she did just that (contestants are not allowed to have a record deal before entering the competition). The artist declined.


Though it's never been easy to get a record deal, this particular meeting depressed the manager more than usual. Digital Music News recently reported that there's been a big cull in A&Rs at record labels in recent years, and if the aforementioned meeting is a sign of the lack of imagination among them, it's understandable. It used to be that the A&R's role was to spend their evenings in smoke-filled clubs discovering bands, and helping them to develop before releasing their first record (the Wikipedia entry says: "Artists and repertoire (A&R) is the division of a record label that is responsible for talent scouting and overseeing the artistic development of recording artists"). These days, however, major labels increasingly demand that artists already have a "momentum" going before they get involved.

According to Hartwig Masuch, the CEO of music publisher BMG Rights, the days of A&R are numbered as artists are now able to make and market their own music via the internet. I think his view is simplistic. It's true that the internet has taken away the middleman, allowing artists to get their music out there without record company promotional power. Yet artists often encounter difficulties getting heard above millions of others fighting for the listener's attention. A&R acts as a filter. To most artists, their songs are their babies, which makes it pretty difficult to discard them or look at them objectively. Good A&Rs can, so they push artists further.

Major labels may be reinventing the role, but A&R is still alive and kicking at – and even essential to – independent labels. I wasn't in the room when Adele first met Richard Russell, CEO of XL Recordings, but I have a feeling The X Factor wasn't included in the conversation. Russell later said: "To me, signing is instinctive. The more I think, the worse it gets. I'm not signing people for who they are, but for their potential. I have to believe in the person." It appears to be a recipe that works – Adele's first album had great success all over the world and her second is currently outselling the rest of the top 10 combined in the UK (it's currently No 1 on the iTunes charts in 16 countries). Compare that to the vast majority of X Factor contenders.

Independent labels aren't the only ones investing in the development of new artists. Music publishers have provided vital support for numerous unsigned artists for a long time. A&R Caroline Elleray signed both Coldplay and Keane to BMG Music Publishing years before they got record deals, paying for recordings and shopping them relentlessly to labels. This kind of loyalty and belief is also characteristic of Chrysalis Music. When Nerina Pallot was dropped by Polydor after her first album, Chrysalis supported her for years, invested in her follow-up and released it through their "incubator" record label, Echo.

The future role of major labels may be more of a multiple service provider, offering investment and marketing for artists that have gained modest to medium success on their own but want to make a greater impact. Meanwhile, for budding artists who don't want to take part in televised talent shows, there are still some labels, publishers and managers out there who believe that talent will out and are willing to invest time and money – even if their funds are, unfortunately, more limited.

DJ: his role in promoting your music

Dj as a pool member and his role in promoting your music

Nightclub djs must report their club responses to your music to the pool director, generally, between 2-4 weeks. Each dj compiles his own club response report, which he then turns in to the pool director.

The pool director then compiles a final report from each djs report, and provides you with a copy. This report generally includes each club`s listing, address, the response rating to your music, along with an overall average score. You can then use your report as influence to obtain more radio airplay, press coverage, distribution deals, and more.

Now, in addition to having a completely different version of your song(s), you also have another version of the song(s) that you can sell at retail if you wish and, as the saying goes, ‘getting two bangs for your buck’ as a certain number of people will also be interested in your enhanced club version.

An added and peripheral benefit of having a club version of your music is that a number of record pool djs also have specialty or mix shows on stations in their area or, they may even be a part of the main staff on their area stations.

Thus, should a nightclub dj really like your music, and is not simply fulfilling the obligation to play your music in his club, it is very likely that you will begin receiving airplay on his area station as well.

One final note is that radio and retail work very closely within their own local and regional areas, with each apprising each other of what is getting response from listeners, and what is being asked for at retail, respectively. This is why it is vitally important that you are set up with offline retail distribution services.

Now, when you begin the radio promotion and press publicity aspects of your marketing campaign, they can merely serve as ‘icing on the cake’ as opposed to being the only driving factors you have to make the public aware of your music.

In fact, with now including record pools within your marketing, and being able to provide proof to both radio and press of your music`s club response, you are likely to experience much easier access to the media which is a very beneficial and important thing to do.

The way record pools work

The way record pools work

The pools win by getting music from labels and artists, which attracts djs as members. Accordingly, djs win by eliminating the need to purchase music for their nightclubs. But how do labels and artists win? What`s in it for them? What is in the deal for labels and artists are: ‘quick exposure directly to music listeners’ and ‘quick exposure directly to music buyers’. How does the process really work? Let us examine a step-by-step approach. First, you need to have a very strong single (or singles) if you desire to release more than one single release. Keep in mind that regardless of your genre, if your music falls within a ‘commercial’ aspect, i.e., Pop, Rock, Dance, Urban, Country, or any hybrid or sub genre thereof, your preference, first and foremost, should be either ‘a hot dance single’ or ‘a very strong tear-and-heart-wrenching ballad’. Anything in between will simply not suffice because club goers are in clubs primarily for dancing. Secondly, take your selected single or singles and enhance it or them to some degree that will make the song(s) slightly different from your radio version. Ways to do that include extending the song(s) from the radio versions' 3-4 minutes in length to 5-6 minutes in length for the nightclub versions', since people prefer longer versions in clubs; adding or modifying sound effects; dropping out or fading certain instruments, or incorporating new instruments not heard in the radio version, and simply be more creative.

Then place your club version on vinyl, as most nightclub djs still prefer vinyl (wax), although there are now a number of djs that will also accept your enhanced version on CD records. To cover all bases, consider placing your club versions on both vinyl and CD, if it is affordable to do so. And now it is about time to contact record pools to learn if they have member djs who play your genre of music in their nightclubs and, if so, the number of such djs they have. This number from each pool will allow you to determine the number of pieces you will need for the pool(s).

Once you have the number of pieces for the pool(s), and after the pool receives them, it will usually take 1-2 weeks before your music begins getting club play. Then, the response is almost instantaneous. It is wise for commercial purpose, prior to sending out to pools, ensure that you have your offline retail distribution covered so that you can get sales as a result of the club play.

There was a time that, when an independent artist was fortunate enough to get airplay outside of his local or regional area a couple of thousand miles away, equally unfortunate was that there was not a thing he could do about it, in terms of sales. He could only weep at his potential sales losses. But now with appearance of special retail companies dealing with those pools you are not likely to have that sort of problem. The point of making sure that your music is set up with these particular organizations is that, when club goers hear a ‘hot’ record that they like, naturally, they enjoy it. And, while these distributors do not take hundreds of your CD at a time (which is a great thing for you, as it does not tie up your product and make it difficult to get back, as with traditional distributors), these particular distributors make your music available through a national retail database so that stores can place orders instantly for their customers. They operate much like online music sales sites do, again, with accepting only a few copies at any given time, but they are the offline versions, reaching music retailers while giving you the best of both online and offline sales worlds.

Now, you have already seen the wide distribution area of the record pool. And, again, there are quite a number of additional record pools that, in general, serve as specialty pools to particular genres, or serve virtually all commercially viable music releases, regardless of genre.

Record Pools

RECORD POOLS

Alabama

C & M RECORD POOL ESTB 1996
951 Government St. Suite 200 Mobile, AL 36604
Phone: (251) 438-1599 Fax: (251) 433-0667
Director: Michael “DJ Bull” Witherspoon
Assistant Directors: Jovan White & Pheadra Liddell
Email: djbull1@bellsouth.net or
gottaluvher143@aol.com
Members: 30 DJ Members
Music Formats: URBAN Music & Dance
Allotment Req: 60 on 12″ Vinyl for URBAN; 30 CDs
Allotment Req: 60 on 12″ Vinyl for Dance; 30 CDs

RW RECORD POOL
Ron White, Director
799 Baltimore Hill Road Huntsville, AL 35810
Cell: (205) 308-3650 Office: (256) 859-1851
Email: rwrecordpool2@aol.com
Members: 120 Format: Rap & Hip-Hop / R&B / NeoSoul Service: 150 CD’s

Arizona

DESERT WEST RECORDPOOL – PROMOTIONS
17 Years Serving Arizona & Southwest
3936 West Grant Phonenix, AZ 85009
Phone: (602) 484-0242 Fax: (602) 595-7516
Email: dwpromotion@cox.net
Website: www.dwpromotion.com
Directors: Bobby Jaime & Ernie Gomez Members: 35 Members
Formats Of Music: Urban (35 on Vinyl) – Dance (35 on Vinyl) – Latin (25 on CD)
California

AMERICAN RECORD POOL
3540 Wilshire Blvd. Suite 1044 Los Angeles, CA 90010
Phone: (310) 659-7852 Pool Director: Michael Love
Members: 60 Members Urban & Dance Formats
Website: www.americanrecordpool.com

B.A.D.D.A. RECORD POOL & PROMOTIONS ESTB 1975
Pier 29 1/2 – 31 San Francisco, CA 94111
Phone: (415) 882-9700 Fax: (415) 882-9862 Director: Sulai Wong-Lygizos
Servicing The Northern California Area Member of The Urban Coalition
Reporter for DJ Times, FMQB, RecordPoolCharts.com and UrbanTip.com
Email: baddadjs@aol.com

BAY AREA HIP HOP COALITION RECORD POOL
Director: Malachi Padron
630 20th St. Suite 200 Oakland , CA 94612-1604
Phone: (510) 419-0396 Fax: (510) 419-0398
Members: 50 Members Format: Urban
Email: mpadron75@hotmail.com

CHANNELZ – RECORD &DIGITAL POOL
2371 Arden Way Sacramento, CA 95825
Phone: (916) 641-8808
Email: ChannelzRecordz@yahoo.com
Website: www.ChannelzRecordz.com
Director: Gabriel Mora Assistant Directors: Bruce Lam & Jimmy Thai
Music Type: Top 40, Hip-Hop & R&B, Dance & Electronic, Dancehall
Music Format & Allotment: MP3 / 30 Vinyl / 20 CD

CMBE MUSIC POOL (SERVING SAN DIEGO SINCE 1979)
(Formerly Known As: Solid Productions Record Pool)
Monroe Greer: Pool Director Jeff Marcone: Assistant Pool Director
6532 Garber Avenue San Diego, CA 92139
Record Pool Phone Number: (619) 470-3111
Radio Station Direct Line: (619) 336-7109 Members: 50 Members
Email: CMBEMUSICPOOL@YAHOO.COM
Email: CMBEMUSICPOOL@COX.NET
Format: Hybrid Members: 50 Members
Specialize in Top 40/Dance, Rap/Hip-Hop, R&B & Alternative

HEAVYWEIGHTS RECORD POOL
14706 Aranza Dr. La Mirada, CA 90638
Phone: (888) 998-2041 Website: www.heavyweights.org
Members: 50 Servicing Allotment: 50-60 pieces (Vinyl Only)
Description: Underground HipHop pool based in LOS ANGELES.
Also cater to Rap, Reggae and R&B. Serving DJs throughout southern California.

GLOBAL RECORDS ESTB 1995
11685 Declaration Dr. Cucamonga, CA 91730
Phone: (626) 257-4209
Director: Lucky Lou Service: 80 Records
Email: LuckyLou01@aol.com
LuckyLou@globalrecordpool.com
Website: www.globalrecordpool.com

ILL TRENDZ RECORD POOL
Phone: (510) 435-2198 Members: 60 Members
Oakland , California 94605
Hip Hop, R&B, Rap, Dancehall
Charts: Ill Trendz Prod., Record Pool Reports To Happs Magazine and Urbantip.com
Ill Trendz Record Pool Serves Hip Hop / Rap and R&B To San Francisco
Bay Area’s Club & Radio DJs. Director: Sean Kennedy
Assistant Director: DJ Backside

INLand EMPIRE RECORD POOL 18 Years Serving Southern California
114 Oaktree Drive Perris, CA 92571
Bill “Jet” Proctor – Director Phone: (909) 657-3277 Fax: (909) 657-8225
Email: BillsPool@aol.com
Website: www.InlandEmpirePool.com
Members: 60 Members 5 Radio DJs 60 Vinyl DJs & 5 CDs

INTERNATIONAL RECORD SOURCE- RECORD POOL ESTB 1986
Arthur Tellez – Pool Director
665 H. Street Suite C Chula Vista, CA 91910
Phone: 619-476-1288 ext. 303
Email:
irspool@oneworldent.com
Website: www.IRSPOOL.com
Members: 40 Members Music Formats: URBAN Music, DANCE Music
Allotment Req: 40 on 12″ Record for URBAN
Allotment Req: 40 on 12″ Record For DANCE

IN THE MIX RECORD POOL
2215 Beechwood Street Lancaster, California 93535
Phone: (661) 952-0720 Or (661) 860-5997 Email:
inthemixrecordpool2004@yahoo.com
Pool Director: Michael “DJ Scratchman” Smith Members: 65
Service Allotments Req: 70 On 12″ Vinyl For Urban, Reggae, Gospel, Latin and Dance.
Service Allotments Req: 70 On CD For Urban, Reggae, Gospel, Latin and Dance.
MP3′S Are Accepted In Urban, Reggae, Gospel, Latin and Dance
Please Include Clean-Dirty Vocals, Acapella and Instrumentals
We Accept All Unsigned Underground Artists Submissions With Bios

MIXX-N-COMPANY RECORD POOL
Director: Mixxula
1731 Howe Avenue # 474 Sacramento, CA 95825-2209
Phone: (800) 971-MIXX Fax: (916) 927-3499 faxx 50 Vinyl / 12 CD Members
Website: www.mixxula.com

RESOURCE RECORD POOL Uniting The World Of Music
8350 Melrose Avenue Suite 10 Los Angeles, CA 90069
Phone: (323) 651-2085 Fax: (323) 655-5223
Email: ResourcePromo@aol.com
Director: Ken Alan Service: 40 Vinyl / CD
Website: www.hometown.aol.com/resourcepromo

RITMO INTERNATIONAL RECORD POOL SINCE 1995
3105 Filbert St. Antioch, CA 94509 Members: 32
Genre: Latin In General Director: Tony Orellana
Phone: (415) 821-3563 Cell: 415-724-6940

SOBAD RECORD POOL SINCE 1989 SOBAD is Effective!
65 Post Street San Jose, CA 95113
Phone: (408) 277-0111 Fax: (408) 277-0123
Email: sobad@sobad-djs.com
Pool Director & Dance Director: Rick Mayes
Urban / Hip Hop Director: DJ Classic
Office Manager: Joel Wyrick Members: 30 Members
Website: www.sobad-djs.com Req: 30 Pieces
We report to: DJ Times, FMQB, RecordPoolCharts.com, Urban Coalition & UrbanTip.com

SOUL DISCO RECORD POOL SINCE 1982
Urban Coalition Top 30 Core Member Gordon ‘G – Director
1368 Bush Street San Francisco, CA 94109
Phone: (415) 776-2462 Fax: (415) PRO-FAXX
Email: SoulDiscoRecordPool@gmail.com
Email: SoulDiscoRecordPool@yahoo.com
Members: 60 DJ Members Over 21 Years In Music Promotion

SOUNDWORKS ESTB 1993
(Previously Known As WARD est. 1981)
228 Valencia Street San Francisco, CA 94103-2318
Phone: (415) 487-3980 Fax: (415) 487-1972
Email: info@soundworks-sf.com
Website: www.soundworks-sf.com
Director / Head Buyer: Sam LaBelle Sam Labelle Writes “THE UNDERGROUND” Column
Assitant: Tom Seymour Members: 50 Members (4 Mix Show / 2 Billboard / 4-5 Remixer
Service Req: Dance / Club / House: 50 Crossover: 50
Rock / Alternative / Techno: 25 NRG: 25 Rap / Urban / R&B: 15
Salsa / Merengue / Latin: 15 Reggae / Dancehall: 15 Nondance: 15
Pool Charts Are Generated Bi-Weekly Service Is Requested On Vinyl

THE PROS RECORD POOL SINCE 1979
440 Grand Avenue Oakland , CA 94610
Founding Director: Rico Casanova Phone: (510) 839-3000
Members: 100 Members Top 30 Urban Coalition Member
Email: info@THEPROS.com
Website: www.THEPROS.com

XTREME RECORD POOL
2425 Channing Wy # 223 Berkeley, CA 94704
Directors: DJ Icewater and Josh And riano Fax: (309) 408-0897
Website: www.djicewater.com
Email: icewater@icewater.com
OR joshuaand rriano@msn.com
Canada

FLAVOR POOL Canada’s Biggest and Best Urban Pool
Pool Director: Mike Zafiris Vancouver Rep: Jay Swing
Service: Hip-Hop, Reggae and R&B Toronto: 30 DJs Vancouver: 30 DJs
Montreal & Ottawa: 30 DJs Edmonton & Calgary: 30 DJs
Website: www.flavorpool.com
Email: flavorpool@hotmail.com

PROMOMUSIC POOL
363 Amiens Street Ottawa Ontario Canada K1E 1P1
Director: Frank Branker Co Director: Ranjan Kelly
Website: www.Promomusic.org
Phone: (613) 297-8362
Email: promomusic@rogers.com
Email: webmaster@downtownrecords.com

SOUL CHOICE RECORD POOL
Canada’s Most Recognized Record Pool & Entertainment Source
Members: 50 Members Nationwide
Format: Hip Hop, R&B, Soul, House, Reggae and Soca
Servicing Allotment: 50 Pieces – Preferably Vinyl
Pool Director: Dexter Langley Phone: (416) 439-5959
Email: dexter@soulchoice.ca
Website: www.soulchoice.ca
We Also Do Canadian Publicity & Promotions

Colorado

RADIO BUMS RECORD POOL
1950 W. 32nd Ave. Denver, CO 80211
Phone: (303) 412-9909 Fax: (303) 412-9919
Website: www.radiobums.com
Email: radiobumsrecpool@comcast.net
or chonz@radiobums.com
Pool Director: DJ Jay (Jason Fresquez) Members: 30 Members
Description: Hip Hop, R & B, Reggae, Top 40
Servicing The Mile High City and Rocky Mountain Surroundings

Connecticut

CONNECTICUT’S MUSIC POOL
1440 Whalley Ave. #172 New Haven, CT 06515
Phone: (203) 789-0038 Fax: (203) 789-1166
Email: CTMUZIC@aol.com
Website: www.CTBEATS.com
Director: Stephen M. Richardson Assistant Director: Dennis H. Norris
Florida

904 and 904 TAMPA RECORD POOL
9 Years of Servicing Florida & The Southeast
15915 Old Stone Pl. Tampa, FL 33624
Director: DJ Shizm and Sharon Colter
5th Element DJs Future Star DJs
Phone: (813) 977-6909 or (813) 416-4668
Email: djshizm@hotmail.com or
nine04tampa@yahoo.com
Websites: www.904tampa.com
www.djshizm.com

CRAZY SOUNDS RECORD POOL
Website: www.crazyhood.com
12302 S. W. 117th Ct. Miami, FL 33186
Phone: (305) 971-9921

DSM PRODUCTIONS CEO RAUL ADAMES AKA (DJ JEER) Orig. Brooklyn, NY
Email: rauladames@bellsouth.net
Orlando, Florida
Old School Rap, Hip-Hop, R&B, Dance, House, Club, Techno, Disco & Top 40

FLAMINGO RECORD POOL
1450 NE 123 Street # 113 Miami, FL 33161
Phone: (305) 895-1246 Fax: (305) 895-0913
Email: flamingorecpool@aol.com
Website: www.flamingorp.com
Richard McVay – Director Waggy Tee – Urban Director

FLORIDA SUNCOAST RECORD POOL
7747 63rd St. N. Pinellas Park, FL 33781
Phone: (727) 544-7609 Fax: (727) 545-5371
Email: flasuncoastrp@aol.com
Members: 40 Members We Promote Both Urban & Dance Music

FT. LAUDERDALE / MIAMI RECORD POOL ESTB 1985
3450 NE 12th Terrace Ft. Lauderdale, FL 33334
Phone: (954) 563-3888 Fax: (954) 563-6889
Email: FortLaudRP@aol.com
Pool Director: Guy Haubrich President: Louis Possenti Total Members: 50
Member According To Format: Dance: 30 Alternative: 5 Rock: 5
R&B/HipHop: 20 Number Of Mixshow Jocks: 3 Radio Stations

FULL FLEDGE RECORD POOLPROMO CLIENTELL RADIO 91.7fm
HITTMENN DJS
8594 Tansy Drive Orland o, FL 32819
Office: (407) 694-5063 Fax: (407) 523-7234 Cell: (407) 694-5063
Email: dapa999@aol.com
Email mp3s to: fullfledgemp3@gmail.com
30 Pieces Of Vinyl and 10 CDs Genre of Music: Urban (Hip Hop / Reggae / R&B / Dirt South)
We don’t play records…. We break records. DJs run the stations.

JAMLAND O RECORD POOL
Hittin the streets with New Music 1st
Director: Ray ” DJ Infinite ” Rivera Phone: (407) 855-2554
4270 Aloma Ave. # 124 Suite 45-A Winter Park, FL 32792
Phone: (407) 382-5850 Fax: (509) 472-3972
Email: Jamland o@bellsouth.net or
Jamland oRecPool@aol.com or
RayRivera@jamlandorecordpool.com
Urban, Reggae 45 Vinyl 5 CDs to service the pool…….

MAJESTIC LATIN CD POOL
4114 S. W. 154 Path Miami, FL 33185
Phone: (305) 229-5150
Website: www.latincdpool.com
Email: cdpool@majesticsounds.com
Description: Servicing The Professional Latin Music DJ Since 1991
Salsa, Merengue, Bachata, Cumbia, Vallenato, Latin House, Merenhouse, Remixes & More
The Latest In Tropical Latin Music Monthly For DJ’s Only

MIAMI PIPELINE
Website: www.miamipipeline.com
Phone: (786) 586-8197 Fax: (305) 769-1272
Email: info@miamipipeline.com

RHYTHM CITY RECORD & CD POOL
5021 State Road 7 #211
Davie, FL 33314
Phone: (305) 931-5695 or (954) 962-8554 Fax: (954) 318-1411
Email: darron@rhythmcityweb.com
Website: www.rhythmcityweb.com
Directors: Darron “Slimfamas” Faison & Felix Sama
Music Formats: URBAN Music, DANCE Music, LATIN Music
Allotment Req:60 on 12″ Record For URBAN and 30 on CD For URBAN, DANCE, LATIN

TJ’s DJ’s RECORD & CD POOL ESTB 1994
1424 Capital Circle NW Tallahassee, FL 32303
Phone: (850) 877-6090 Fax: (850) 877-3110
Email: info@tjsdjs.com AIM: TJsDJs
Website: www.TJsDJs.com
Founder/CEO: TJ Chapman Pool Director: Keith Kennedy
Music Director: Malik Darby Members: 105 DJ Members (35 CD & 70 Vinyl DJs)
Music Format: Urban (Rap, Reggae, R&B)
Servicing: 90 12′s & 50 cds

UPSTART ENTERTAINMENT & RECORD POOL ESTB 1995
4446 Hendricks Avenue Suite 313 Jacksonville, FL 32207
Phone: (904) 448-9211 Office Fax: (904) 739-9494
Email: info@Upstart-Entertainment.com
Website: www.upstart-entertainment.com
Derek “D – Wash” Washington – Director / Owner
Members: 50 DJ’s Strong Format: Urban & Dance

France

PROMOSOUND RECORDS
France, Paris
Phone & Fax: 00 33 609378831 Responsible: Cicana
Email: RECORDSPROMOSOUND@yahoo.fr
Music: R&B, Hip Hop, Funk, Garage, Neo Soul, Gospel, Jazz
40 x 12″ (Promo Sticker) / 30 x CD Major & Independent Label.
Members: 10 MembersGeorgia

BIG CITY DJ’S CD POOL
4660 Cedar Keys Lane Stone Mountain, GA 30083
Phone: (404) 501-0220 Office Fax: (404) 501-9366
Email: pooldirector@bigcitydjs.com
Website: www.bigcitydjs.com

DIXIE DANCE KINGS
Dan Miller Chart Editor / DJ Times
Website: www.djtimes.com
Director / Dixie Dance Kings
Website: www.dancekings.com
(IDMA Record Pool Of The Year 2001 / 2002)
42 Milton Ave. Alpharetta, GA 30004
Phone: 770-740-9067

JUMPIN JACK CD and RECORD POOL OF ATLANTA GA
Serving The Streets For Over 21 Years
Directed By Jamal “Jumpin Jack Jr” Whited
Phone: (404) 663-1130 Or (404) 437-1287
Email: nworcs@hotmail.com or
wali_56@yahoo.com
We Enlist Black Night Club, Radio, And Mobile DJs
4050 Morgan Rd. #287 Union City, Georgia 30291
We Currently Service DJs Wax, CDs, and DVDs
We Have 50+ Jocks Around The Metro Atlanta Area and The State Of Georgia

LEGION OF DOOM DJs RECORD POOL ATLANTA
5319 Old National Highway Atlanta, GA 30349Phone: (404) 684-5999
Pool Director: Ray Hamilton (404) 396-9512
Assistant Director of Marketing & DJ Management: DJ Dre
Email: djdremp3@yahoo.com

“THE CREAM OF THE CRUNKEST” – DJ Dre
L.O.D. RecordBreakers, L.O.D. AllStarz, L.O.D. DJs
Office: (404) 684-5898 Cell: (678) 362-7511
Website: www.lodrecordpool.com
Email: Info@lodrecordpool.com
Members: 37 DJ’s Service: Vinyl and CDs Region: Southeast
The Southeast Region’s Largest Collaboration of 37 of the Hottest
DJs From Atlanta and The Surrounding Markets Connected To Georgia

ODYSSEY ENTERTAINMENT. INC
Mr. Bishop Perry, CEO / President
2870 Peachtree Road Suite 608 Atlanta. GA 30305
Toll Free: 1-888-866-6299 Fax: (404) 869-1399
Phone: (404) 869-6299 Website: www.omgonline.net
Email: bishopperry@hotmail.com

NEW WORLD MUSIC POOL
3315 Moravia Drive Lithonia, GA 30038
DJLace Phone: 1-888-571-3949
Email: neworldmusic@comcast.net
Website: www.DJLace2003.com

Germany

MUZIK-PATNAZ
Promoting Record And CD Pool Germany
Loetzener Street 5 51373 Leverkusen Germany
Muzik-Patnaz Urban Down South Music, DJ Mixtapes & More
Muzik-Patnaz Services: Vinyl, CD, Artist & DJ Promotion, Music Submission
Independent Top 10 Charts, Mix-Tape & Mix-DVDs Distribution
Members: 42 Members Service Req: Vinyl, CD or mp3
Phone (Fon): +492143105097 Fax: +492143105097
Mobile: +49-173-6191115
Email: info@muzik-patnaz.net &
info@recordpool.de
Websites: www.Muzik-Patnaz.net &
www.recordpool.de

Illinois

ILLINOIS RECORD POOL ESTB 1989 (Our 18th Year!!)
Attn: David “Chicago” Casto
12404 South Trumbull Avenue Chicago, IL 60803
Phone: (708) 732-6731 Fax: (708) 389-9628 AIM: ILRECPOOL
Email: ILRECPOOL@aol.com
Website: www.RECORDPOOLCHARTS.com
120 DJ Members Grammy Awards US Reg TM Voter – The Recording Academy US Reg TM

KEEP IT ON WAX RECORD POOL
8912 Woestboul East St. Louis, IL 62203
Pool Director: Johnnie Golliday
Email: jag5681@hotmail.com
Phone: (618) 531-8522 Fax: (618) 257-8336
Members: 25 Members 5 Radio DJs
Format: Rap, Hip Hop, R&B, Reggae
Service Allotment: 40 pieces on 12″ Hip Hop, Rap, Reggae

LATIN BEAT CHICAGO
5158 West Pensacola Chicago, IL 60641 Members: 60
Director: Edgar Marroquin Phone: (773-481-0066Fax: (773) 481-0055 Cel: (773) 991-0108
Email: LATINBEATCHICAGO@aol.com
Website: www.latinbeatchicago.com

V.I.P. CHICAGO
Staff Members & Service Information
H. Vargas / Office Director / Latin Promotions Dept.
DJ “B” / Hip Hop Promotions Department
R&B and Hip Hop: 40 Pieces Vinyl / 20 Pieces CD
Dance: 30 Pieces Vinyl Or CD
Latin: 40 Pieces Vinyl Or CD
Video: 15 Pieces VHS Or DVD
Service Also Accepts mp3 Format
3505 W. Fullerton Ave. Chicago, IL 60647
Email: djmember@vipchicago.com
Website: www.vipchicago.com

Kansas

KANSAS CITY RECORD POOL
2320 Ranch Way Lawrence, KS 66047
Director: Ken Soap (785) 218-9684 IM:kcrecordpool
Email: ken@kcrecordpool.com
Website: www.kcrecordpool.com
Members: 30 DJ Members Music Formats: Urban
Allotment Req: 30 on 12″ VINYL for URBAN; 10 CDs
2320 Ranch Way Lawrence, KS 66047
Kentucky

FIVE STAR RECORD POOL ESTB 1983
504 Garrard St. Covington, KY 41011
Phone: (859) 261-6972
Email: FiveStarRP@aol.com
Total Members: 25 PD: Mark Burney

Maryland

DIRECT DRIVE RECORD POOL EST 1995
Unruly Productions, Inc.
7455 New Ridge Rd. Suite N Hanover, MD 21076
Operations Manager: DJ Wil Roc
Phone: (410) 691-0010 Ext. 104 Fax: (410) 691-0095
Email: wrock@unrulyonline.com
Website: www.unrulyonline.com
IM: djwroc2075 Members: 90 Members
Music Formats: Hip-Hop / R&B / Reggae / House
Service Allotment: 90 Vinyl & CD
Massachusetts

MASSPOOL DJ ASSOCIATION
30 Revere Beach Parkway Revere, MA 02151
( 90 ) Members – Vinyl 90 % Dance & Crossover – 100 % play reggae
100 % play Urban, R&B & RAP …… 80% all others
Latin Crossover / Reggeton / Meringue / Salsa / Bachata / Latin Pop
Phone: (781) 485-1901 Fax: (781) 485-1902
Email: masspool.dj@verizon.net
Website: http://www.masspool.com
Feedback: http://www.masspool.com/feedback
Gary Cannavo, Director
James Macdonald, & Jason Booth, CD / Latin / Reggae Directors
Justin Testa, Promotion Coordinator, Crossover Chart Coordinator.
Co-Director Todd Reeves, Website Administrator
Johnny C, Mix Show WKXS 107.9 Boston and Top 40 Crossover Chart
Co-Coordinator Danny Dellato, Urban Chart Co-Coordinator
Reporting To: F.M.Q.B. / Behind The Scenes / DJ Times / DMA / BRE Magazine

NEW ENGLand DJ ASSOCIATION RECORD POOL
Director: DJ Addition
418 Tremont Street
Boston, MA 02116

NEW ENGLand LATIN DJs
418 Tremont Street Boston, MA 02116
Phone: (617) 695-9941 Fax: (617) 695-9943
Director: Ray Torres Members: 40 Members
Email: NELatinDJs@aol.com
Website: www.NELatinDJs.com

ORO PRODUCTIONS LATIN RECORD POOL
DJ Willie D (Director)
Email: oropro@verizon.net
Website: www.oroproductions.com
252 Maverick Street Suite #1 East Boston, MA 02128
Phone: (617) 569-5053 Cell Phone: (617) 970-4594
Members: 20 Members and Growing 3 Members Mix DVDs

DJ LATINO SERVING 75 DJS WORLDWIDE
DJ’s Latinos Record Pool & Entertainment Group
Antonio Ortiz Jr. CEO/Director
If You Are A: Record Label, Promoter, Artist, Producer, Manager, Booking Agent, DJ, Equipment
Put YOUR MESSAGE in front of the RIGHT Audience.
P. O. Box 363 Medford, MA 02155
Tel: (781) 396-0015 Fax: (781) 396-2062
Email: promo.dept@djlatino.com
Website: www.djlatino.com
Members: 75
Michigan

UNITED DANCE MUSIC ASSOCIATION
4816 Seminole Detroit, MI 48214
Phone: (313) 923-2724 Fax: (313) 923-2623
Email: tyrone@udma.com
Website: www.udma.com
Members: 60 Members Call Day: Thursday

Minnesota

VINYL KINGZ RECORD POOL
PD: Brother Jules Members: 50 Members
311 West Lake Street Minneapolis, MN
Phone: (612) 824-0505 Fax: (612) 824-4537
Email: Vinylkingz@aol.com
All Members Play: Hip Hop, R&B, Reggae, House
Lots and Lots of radio and club DJs in this pool…..

New Hampshire

INFAMOUSDJS RECORD POOL ESTB 1999
104 Flag Road Gonic, NH 03839
Email: Mcayer@infamousdjs.com
AIM: Infamousdjbiggie
Website: www.Infamousdjs.com
Members: 60 DJ Members
Music Formats: URBAN Music, DANCE Music
Allotment Req: 60 on 12″ Record w/ Both URBAN & DANCE

New Jersey

LATINOS UNIDOS RECORD POOL ESTB 1993
136 Locust Avenue North Arlington, NJ 07031
Phone: (201) 998-2377 Fax: (201) 998-2677 Attn: William Otero
Website: www.latinosunidosonline.com
Email: kmokato@aol.com
Members: 120 Members (cds only) (50 dvd/vhs only)
We Report To Radio y Musica, www.NLRPDA.com
We Publish Our Own Magazine (50,000 printed 150,000 pass along readership)
Our DJ’s Cover New York, New Jersey, Philadelphia, Connecticut, Florida,
California, Texas, Chicago, Puerto Rico, Italy & Sweden
We Have 3 Offices (NJ – Headquarters, CA – West Coast & Italy) World Wide

RICKETT’S RECORD POOL
Bill Rickett
52 Graham Terrace Saddle Brook, NJ 07663
Phone: (201) 796-3336 Members: 65 Members
New York

8TH WONDER DIGITAL POOL Since 2004
Bronx, NY
Paul Cerbone Phone: (914) 482-1379
Email: paul@djspinit.com Or
paul@8thwondercdpool.com
Website: www.8thwondercdpool.com
Hip Hop. Reggaeton, House, Pop, Reggae, R&B. All The Hard To Find White Labels
www.djspinit.com

BLAZIN VINYL
PMB-369 266 Elmwood Ave. Buffalo, NY 14222
Email: chrisnice@ica.net

BUFFALO NY DJ ASSOCIATION SINCE 1977
73 Strasbourg Drive Buffalo, NY 14227
President: Dave “DG” Gillen Director: Mike Setlock
Phone: (716) 668-1136 Fax: (716) 683-4930
Cell: (716) 998-3325
Email: BfloDJs@aol.com
Service Req: 25 Members – Dance 15 Vinyl, 10 CD
25 Members – Urban All Vinyl + 5 CD

HIPHOPFRIENDS, Inc. (ESTB 1998)
Business Manager: Bobby Saint-Joy Music Coordinator: Richard Garcia
471 Elmont Road Temple Bldg. 2nd Floor New York, NY 11003
Phone: (631) 236-9023 Fax: (631) 236-9041
Email: info@hiphopfriends.com
Websites: www.hiphopfriends.com
www.hiphopfriendsonline.com
Formats: HipHop, R&B, Dance, Rock, Pop, All Music (CD’s & Vinyl’s)
Members: 15 Members Professional DJs Wanted
For The Edge In Hip Hop, You’ve Come To The Right Source
#1 Webcast Radio #1 Music Distribution Company

INTERNATIONAL LATIN DJs UNLIMITED SINCE 1990
Director: Johnny “Speedy” Gonzales Phone/Fax: (718) 279-2822
61-07 218th Street 2nd Floor Bayside, NY 11364
Pool’s Email: IntLatDjUn@aol.com
Members: 30 Members Service Req: 30 CD’s – only / 10 DVD’s & VHS
Music Format: All Latin Type Music & English Dance Music
Report To: Radio Y Musica / Antenna / Mercado Del Disco

LONG ISLand RECORD POOL
3601 Hempstead Turnpike Levittown, NY 11756
Phone: (516) 796-6596 Fax: (516) 623-4660
Email: LIRecordPool@aol.com
Jackie McCloy – Director 25 DJ’s (using either vinyl or CD’s)
Specializing In Hi-NRG, House, Crossover, Mainstream, Top40

S.U.R.E. NYC’S FOREMOST RECORD POOL
2128 Westchester Ave. 2nd Floor Bronx, NY 10462
Attn: Bobby E. Davis – President Attn: Misty – General Manager
Phone: (718) 904-0500
Email: SURENYRECORDPOOL@aol.com
Website: www.SURERECORDPOOL.com
Members: 100 Members
Music Programmed: R&B, Rap, Dancehall, Ballards, House and Latin

VIP RECORD POOL
2271 West Chester Ave. Bronx, NY 10462
Phone: (718) 918-0847 (OVIP) Fax: (718) 918-0837
Email: vip1@verizon.net
Director: Al Pizarro Members: 90 Members
30 Dance 30 CDs Format 70% Urban

VIP LATINO RECORD POOL
2271 Westchester Ave. Bronx, NY 10462
Phone: (718) 918-0847 Fax: (718) 918-0837
Email: viplatino@verizon.net
Email: viplatino@earthlink.net
Assist Director: Pedro Liz & Jacqueline Director: Al Pizarro
North Carolina

HMI / HIT BOUND RECORD POOL & PROMOTIONS SINCE 1986
Director: John Hollywood Members: 85 Members 85 Beats Plus New Adds
411 Millhouse Road Castle Hayne, NC 28429
Email: recpool@aol.com
Phone: (910) 675-0858 Fax: (910) 675-8487

STARFLEET MUSIC POOL & ENTERPRISES
3521 Mallard Cove Ct. Charlotte, NC 28269
Ronnie Matthews Phone: (704) 599-6645 Fax: (704) 599-1863
Email: rmatthews@starfleetmusic.com
Website: www.starfleetmusic.com
Format: All Members: 65 Members

Ohio

3rd FINGER / HOLLA AT YOUR BOY RECORD POOL ESTB 1996
2408 Walden Glen Cr. Cincinnati, OH 45231
Phone: (513) 851-8260 Fax: (513) 851-1484
Email: gfresh@orbitalhiphop.com
Email: justin@missioncontrolrecords.com
Website: www.orbitalhiphop.com
Pool Director: G-Fresh (513) 851-8260 Co Director: Justin Hue (513) 885-5732
Total Members: 50 Members Format: Urban Music
Service Req: 45 Vinyl, 7 CDs (2 Clean CDs for Radio)

NORTHWEST OHIO MUSIC CONNECTION RECORD POOL
840 Stillman St. Toledo, Ohio 43605
Phone: (419) 320-0009
Email: SONI-D@TOAST.NET
Allotment (60) On Wax (5) On CDs Since 1992
A Proud Member Of The Urban Coalition
Pool Director: Ron Cooley Specializing In Hip-Hop and Blazing R&B
Reporting Stations: WJZE, Hot 97.3, WJUC The Juice 107.3, WIMX The Mix 95.7
We Report To Urbantip.com, Urban Coalition

SHACKLED DOWN PRODUCTIONS, LLC
Mr. Quinn CEO
P. O. Box 582 Circleville, Ohio
Website: www.myspace.com/qgsdp
Email: sdpmusic75@yahoo.com

Oklahoma

OKLAHOMA RECORD POOL-OKRP
Zachary Miller – Pool / Program Director
2008 N. W. 19th Oklahoma City, OK 73106
Phone: (405) 528-0550
Email: okrecpool@aol.com
Members: 30 Members on 12 inch vinyl
Website: www.okrp.com
Website: www.live365.com/stations/okrp_radio
Pennsylvania

1 DIGITAL MUSIC POOL
Your Number 1 Source For Pre-Released Music
DJ Rich (CEO)
Email: support@1digitalrecordpool.com
Website: www.1digitalmusicpool.com

ISMAEL VARGAS & SHARON VARGAS
3062 Weikel St. Philadelphia, PA 19134
Phone: (215) 634-6130
Email: phillylatinsoundrecordpool@yahoo.com
Members: 40 DJ Members Music Format: Tropical
We Report To: Radio Musica
Serving Philadelphia, Delaware and Surrounding Counties

NEEDLE WRECK RECORD POOL
7856 Provident Street Philadelphia, PA 19150
Phone: (215) 753-1907 Fax: (215) 753-9095 Full Service: 50 Units
Email: info@nedlwrekpool.org
Website: www.nedlwrekpool.org

PHILLY’S LATIN SOUND RECORD & CD POOL
Contact Information: Ismael Vargas & Sharon Vargas
3062 Weikel St. Philadelphia, PA 19134
Phone: (215) 634-6130
Email: phillylatinsoundrecordpool@yahoo.com
Members: 40 DJ Members Music Format: Tropical
We Report To: Radio Musica Serving Philadelphia, Delaware, and Surrounding Counties

PITTSBURGH’S BPM RECORD POOL
134 Watkins Ave. Wilmerding, PA 15148-1319
Pool Director: Terry Kicks Phone / Fax: (412) 829-8059
Email: tkbpmrp@juno.com
Website: www.Dzinez.com/BPM
Members: 25 Members All Formats

TOP 15 RECORD POOL
2960 Wilson School Lane Reading, PA 19608
Phone & Fax: (610) 670-0552
Email: BOBBYGTHANG@msn.com
Members: 30 Members Format: Urban Including Reggae, Reggaeton & Latin Music.
Service Req: 12″ Vinyl 30, CD 30, Video 2 (DVD)
Reports to: Sin, Hits, CMJ, Gavin, Epro, Recpcharts, Urbantip
Radio Mix Shows: WUSL (BDS), WMGH (Media Base),
WXAC/WLVR (College) & Reports To: WPHI (BDS) & Wired (BDS)

South Carolina

BSP MUZIK POOL ESTB 2003
213 Autumn Run Circle Columbia, SC 29229
Email: bspmuzikpool@gmail.com
Founder/CEO: Marlon Pool Director: Keisha
Music Members: 88 DJ Members CD/Mp3s/Vinyl
Music Format: Urban (Gangter/Rap, Reggae/Dance Hall Riddims, R&B,
Hip Hop, Miami Bass, Local Talent & More)
“We Promote Urban Music”

Texas

AUSTIN DJ & MUSIC POOL
2408 S. Third Street #F Austin, Texas 78704
Phone: (512) 440-7965
Email: AUSTINDJPOOL@AOL.COM
Website: http://hometown.aol.com/austindjpool/
Director: Nick Matthews Members: 25 Members
Services: Promo CD’s & Videos, New Music News, Top 50 Charts, Monthly Meetings, Events

CENTRAL TEXAS RECORD POOL
Pool Director: DJ Poncho
4006 Ambrose Drive, Killeen, TX 76549
Phone: (254) 458-2696
Email: djponcho@hot.rr.com
Format: Urban

NORTH TEXAS DANCE ASSOCIATION / Record Pool & Street Team
6162 E. Mockingbird LN # 114 Dallas, TX 75214 40 Members
Owner: Bryan Coonrod Phone: (214) 826-6832 Fax: (214) 821-6832
Website: www.ntxda.com

SALSAMANIA LATIN RECORD POOL SINCE 1992
Alex Carmenates
14922 Nuttall Oak Drive Houston, Texas
Phone: (281) 679-9600 Members: 100 Members
Salsa, Merengue, Reggaeton, Bachata, Cumbias – 100 copies
DVDs, VHS – 20 copies Hip Hop – 1 copy Dance remixes – 50 copies
Email: salsamania@earthlink.net
Website: www.salsamania.net

TEXAS STAR RECORD & CD POOL
The Dallas / Ft. Worth DJ Connection
712 N. Watson Rd. Suite 224 Arlington, TX 76011
Phone: (817) 652-9400 Fax: (817) 652-9401
Email: txstarpool@yahoo.com or
texasstarrecordpool@yahoo.com
Director: DJ Cap Asst. Director: Rand y “DJ Phade” Barrett
60 Vinyl DJs 15 CDs
We Manufacture Our Own Customized CDs Formatted Especially For DJs
Virginia

VA LATIN PROMOTIONS RECORD POOL
Alex Barrios ( Director) Members: 25 DJs
Va Latin Promotions 21681 Hazelnut Sq. Sterling, VA 20164
Phone: (571) 345-5514 and (703) 444-9270
Email: alex@valatinpromotions.com
Website: www.valatinpromotions.com
Formats: All Latin & Dance, Urban
Service Allotments: 25 CDs Latin “Regaetton, Salsa, Bachatas, Merengue
(Vinyl Accepted & MP3s)
15 Dance Vinyl Or CDs 15 Urban Vinyl or CDs

Washington

NORTHWEST DANCE MUSIC ASSOCIATION
10522 Lake City Way N. E. # C-B Seattle, WA 98125-7767
Phone: (206) 440-9780 Members: 40 Members
Website: www.nwdma.orgWisconsin

ANOTHER LEVEL RECORD POOL (URBAN)
3241 N. 45th St. Milwaukee, WI 53216
Phone: (414) 406-9836 Fax: (414) 875-6910
Pool Director – Tony Neal
Email: djtonyneal@yahoo.com
Members: 40 Members LP’s / CD’sZimbabwe

BAKOSPRINGS SOUND SYSTEMS
47059-1 Mpopoma, Bulawayo, ZIMBABWE
President: Joseph “DJ JOSE” Gumbo
Email: bakosprings@yahoo.ca
Phone: 00263226494 & 0026391808404
Formats: Urban, House, Dancehall & Tribal
Members: 6 Members
Req: 12 Vinyl’s & 12 CDs