BRANDON ENTERTAINMENT PRESS RELE

Block Rocking Business
The hard work and hard partying of Brandon Records ( by A.D. Amorosi)
(From The Brandon Music Group Archives)

Drinks, jive and getting stiffed. That's the music biz in a nutshell. But Brandon Records, Philadelphia's newest independent record label with a hip-hop beat, has laughs, late nights and worldwide distribution. "That's why I did it, that's all that I wanted," says Brandon co-owner Freddie Sutton from behind his dark glasses. "That and the money," he giggles. Beyond signing Philly rap heroes The Kartel and Bad Blood, jazz diva Jennifer Bryant and punks Pure Hell; beyond having Atlanta's Ichiban label (onetime home to Clarence Carter, Curtis Mayfield, Roy Ayers and the Staple Singers) as their distributor, Brandon Records also has colorful honchos. "I'm new-school," says dreadlocked co-owner Lawrence Bracey, "and Freddie's old-school." Like '60s magnates Phil Spector, Marshall Chess, Berry Gordy and Gamble & Huff, Brandon follows the notion of label owner as star—their charisma an art form in itself. From street corners to after-hours bars like the Palmer, dimly lit tables at Martini's Lounge and strobe-lit dance floors, Bracey and Sutton are always in the spotlight.

"Any success I've had has come from me going to where the music and the people are," says Sutton, who went where the music was first in 1969 as photographer/filmmaker for Motown.
"I was 15 years old," recalls Sutton, a leopard pill-box hat atop his head. "There were no 'videos.' There was just film shot of bands for archival material, trade magazines, news clips and other stuff." From there Sutton moved into marketing and merchandising, promoting, special product development, auditing ticket sales and keeping track of artists ranging from Rick James, Jermaine Jackson, Diana Ross and Stevie Wonder for Motown to Kool & The Gang, the Gap Band and Yarborough & Peoples for Polygram. In the '80s, he was an independent consultant to Tanya Gardner, Grandmaster Flash and K.C. and The Sunshine Band. "You never did this type of work behind a desk," Sutton says seriously.

It's still important to find the music where it is happening: "The same goes with how we got The Kartel now," he figures. "I hang in West and North Philly. Point to [the music] and I'll go." Bracey is also a club denizen who learned by doing. He worked marketing and sales for Capitol, Shanachie and Gotham records before landing at Ruffhouse where he added A&R to his credentials. "Ruffhouse was like school," the amiable, leather-clad Bracey says. "They showed me how an indie can be successful. And that hip-hop could be marketed from square one by a local label." Starting wasn't easy. At the end of 1995, Bracey had to convince Sutton—then in medical communication services—to get back in the biz.

"I begged him," says Bracey, who was managing reggae acts before Brandon. At the same time an old friend of Sutton's—Ichiban's CEO John Abbey—came up with an offer for a label with worldwide distribution and control. "I wanted to release stuff I believed in," explains Sutton, "without the scrutinization of different departments who need to test an artist after you've developed them simply to tell you 'no' because it doesn't sound like something else. The farther you are from the top, the more problems occur. If there's little space between label-head and star there's less chance of lousy communication."

Initial releases, such as The Kartel's Players Only Live Once, sold out rapidly at Tower Records with Vaughn Smith's Livest Spot In The City following closely. "The first time I heard The Kartel, they were slamming," says Bracey. "It's like they were married. They knew each others' moves, phrases. I knew we could sell 'em."

Sutton feels it's important to be where his artists are, answer all questions and take them through paces realistic and affordable. "I don't want to give artist advances," he says sternly. "They're glorified loans. If you start out at deficit level you put pressure on artist to achieve what might not be possible. You can drop $100,000 into the studio. Then an artist wants money when not one record has been sold. That's a recipe for failure."

"We have certain things to make us attractive," says Bracey about Brandon. "That makes us equal to bigger labels. We can make money on small units of sales." He points at the self-selling success of Ani DiFranco and Prince as an industry guidepost. "We can afford to sell 10,000 copies of a record and give a guy another shot."

One package that people have snickered at is Pure Hell, the all-black punk act fronted by local legend Spider (who currently manages Helena's Tiki Bar in Old City). The band flourished during the '70s and then died off quickly. Brandon will release an album produced by friends of Spider's: Lemmy of Motorhead and the L.A. Guns. The record is a cold slap of bracingly pungent punk rock.

"People locally can laugh at Pure Hell all they want," says Sutton. "They have t heir misgivings and they've been out of the limelight for a while. But their record is the cleanest, most demonstrative product. Those guys did very well working in England and Europe. Here memories are short. Memory ain't so short in England. So that record could do well."

Nitpicking criticism and nay-saying galls Sutton and Bracey. They don't give a fuck what people who aren't "on a professional level" have to say about their business. "Most people running at the mouth complaining are locals who only do local things and have never done anything else."

Bracey is laughing at Sutton, a gentleman filled with the braggadocio of a life spent working with Stevie, Rick James or Diana. "How can you be an authority on a business when you've only been on one side. I dare say that none of the people flapping their jaws have been on a national tour let alone a worldwide one. If they did, they carried equipment."

While Bracey is not as jaded as his veteran partner, he can laugh at the amount of people willing to dis what they're trying to put into their love of the local scene; a love that has already seen them sign over 16 acts, including rappers 2 Cannon, reggae artist Prince Collin, and Bryant, the niece of legendary bassist Ray Bryant.

"There's music and there's business," Sutton says angrily. "Kids today don't want to do shit. When I started I worked 24 hours a day every day and didn't make a dime the first five to seven years because I wanted to make sure whatever I got in my pocket went back into production. Hopefully we can open doors for people, but kids have to work." Bracey jolts forward, "We workin'."

Brandon Records will host a sneak preview release party with The Kartel, Vaughn Smith, Trauma Center, Bad Blood, 2 Cannon, Pure Hell and Jennifer Bryant on Wednesday, Oct. 29 at Helena's Tiki Bar, Front & Chestnut Streets, 574-3506.

Brandon Music Group Presents Indie Music Stimulus Program

April 2009 -Philadelphia/New York - At a time when many in the mainstream of the music industry are seeking ways to return to profitability, BMG has a corrective solution. The music industry's tight control by the majors, has grown to create many hybrids, giving BMG the ability to place in the hands of the creative indie, control of their own musical fate. Brandon Music Group's JaThom Records, Brandon Records and Spirit Soul Labels are ready to assist in the Indie Musical Freedom Act. The leaders of this movement are, Fred Sutton and James (Count Coolout) Minor. Sutton says they are looking to return the fundamentals to the music industry, where good music gets the spotlight. Hence they have created an Indie Music Stimulus Program, which provides entree to motivated professional independent production companies, publishers, and artists. This is a participation program, which enable the indie to get a distribution organization and its experience for an affordable cost while receiving a greater return on their investment (ROI).

When asked to elaborate on the program, Mr. Sutton explained that organizations seek major distribution for several reasons. They want an experienced company distributing their product worldwide to all retailers, radio, and digital storefronts. Some are seeking a budget or advance, which is in fact a loan. That loan is being repaid from record/CD sales. If your product performs poorly you end up owning them money and in today's market would be dropped from the label. Additional debt is incurred because of marketing and production fees for videos, press parties, give away's etc. In today's market it is all-inclusive, because now record companies are seeking to cover their risk by getting percentages of publishing, tours, and personal appearances. This direction will surely leave new artist with less ability to earn and restrict their ability to be creative. Our program extracts all of the essential things but lets the independent decide what their money is being spent on, which prevents waste and excessive debt. It allows creative freedom because our staff is looking for good music that is well produced and that we feel that can be marketed successfully (all genres). As a participant you will help shape your own fate and be involved at every step. This provides development, understanding, and requires a total commitment from the independent, and that's the only kind of relationship that will work in the climate of today's music business. With the majors extending their reach everyday by buying controlling interests in every new independent vehicle that has created market presence, it won't be long before you may have to exclude independent from the music business completely. BMG is providing the vehicle for freedom says Sutton; you just have to climb aboard.

Count (one of the Rap Worlds Pioneers) went on to add, “If this Stimulus Program had been
in effect years ago a multitude of artists would still be collecting fees on their first published songs. It would have also freed me up to be more creative in developing other acts.
If you are independent, stay that way. We are here to help you do it successfully.”

For more information on the benefits of joining BMG's Network and it's Stimulus Programs:

All interested parties should contact Mr. Sutton or Mr. Minor immediately!
Contact them at fsutt2@aol.com or talk2count@jathomfamily.com

Brandon Music Group (BMG) Press Release

October 22, 2008 ~ Philadelphia | New York - For those in the independent music community, the problem remains the same. Who will listen to my music? Who will give me
a deal? If I get a deal will my music be played on the radio? Will it be available in stores?
Will you be able to download it on the Internet? If my music sells will I be paid my royalties? There is a new independent player that is making all answers to those questions YES. Brandon Music Group with offices in Philadelphia and New York has developed a multi genre music distribution system for those seriously motivated production companies, publishers, record labels and entrepreneurs. They offer worldwide distribution on an ala carte basis for legally and fiscally functioning companies. You can choose to distribute your project in your home city, regionally, nationally or worldwide. Your project, if accepted will be promoted to radio stations, retail outlets, thru the internet, and all digital medium to include juke box, iTunes, ring tones etc. All projects must meet the A&R integrity outlined under BMG’s
project protocol.

Entertainment Specialist, Fred Sutton III and his colleague Pioneer Rapper/Media Consultant Count Coolout will be joined by a host of industry professionals to insure that the mandate of BMG will be carried out. Count indicates that the staff has been selected from a sterling group of seasoned professionals for on-hands development for radio, marketing, merchandising and retail. Additionally, a young new group of digital savvy professionals has been selected for the purposes of digital designs and the establishment of a presence on the Internet.
Their production staff will include New York’s Ron G who has produced LL Cool Jay, Jennifer Lopez, Mario, R. Kelly and created legendary mixes for Tupac and Biggie Smalls.
Also on the team will be Black Key, well know for his production on DMX, Jay Z, Corrupt and Jada Kiss.

When questioned about working relationships, Mr. Sutton indicated that both he and Count have extensive experience and have worked with successful independent and major labels. Also they have worked with many well-known and successful artists and proceeded to name
a few. A partial list included Motown Records, West End Records, Prelude Records, PolyGram Records, MCA Records, HI Records, RCA Records, SUTRA Records, TK Records and Sugar Hill Records. Artist included Smokey Robinson, Stevie Wonder,
The Jackson 5, Jermaine Jackson, Switch, Diana Ross, Rick James, Thelma Houston,
The Dazz Band, D Train, Kool & The Gang, Isaac Hayes, Parliament Funkadelic, Grover Washington Jr., Cameo, Sugar Hill Gang, Al Green, KC & The Sunshine Band, Flash &
The Furious Five, The Temptations and Millie Jackson.

If more information about this opportunity, or more information about Fred Sutton III or Count Coolout is desired, feel free to visit them at (fredsutton.biz, or jathomfamily.com or feel free to contact them by email at fsutt2@aol.com, talk2count@jathomfamily.com).
Sutton has indicated that he and Count will be available only for those individuals and companies, which meets their criteria. They will be making a national announcement about the launching dates and artist rosters in 90 days. Good Luck!

BMG Presents New Music for the New Year

January 19, 2009 ~ Philadelphia | New York - Brandon Music Group (BMG) is positioning itself for its 2009 artists releases. According to Fred Sutton BMG’s Chief Operating Officer, BMG is still in the stages of developing a multi-genre roster from its Brandon Records LTD, JaThom Records and its newly developing gospel label Spirit Soul Records. James Minor, Sutton’s right hand and VP of A&R states that his mandate is to
focus on not just A&R but artist development, marketing and promotion, where he will be joined by Lenny Dockery, Jr., Regional Director of A&R and Promotion.

Initial releases will include artists The Kartel, Vaughn Smith, Count Coolout, Silhouette,
Futch The Camden Kid and R&B songstress, Peaches. Sutton indicated they have a dozen production deals in the making, which will expand their roster by an additional 12-15 artist. BMG is expected to provide some of the newest—and most exhilarating—music of the New Year.

“Preliminary promotion and marketing through the Internet will give artist, fans and consumers a delightful taste of music by all artists currently slated for release,” explained Sutton. “Further, the campaign will guide fans, step-by-step on all artist activities until the actual release dates are announced.” Sutton and Minor say they expect across the board acceptance from retail, radio and digital storefronts. BMG will host duel launch sites in the music capitals of Philadelphia and New York City.

“BMG will be the new beat of the street in 2009!” said Sutton. “We will keep you updated on the musical journey of BMG.”

BMG Seeks International Flavor by Expanding its Roster

January 20, 2009 ~ Philadelphia | New York - Brandon Music Group (BMG) is currently expanding its international music roster.

"We have been reviewing projects for months,” explained Fred Sutton BMG's Chief Operations Officer (COO). “These projects are worldwide and come from the United Kingdom, Korea, Philippines, Canada, Iceland and Australia."

Sutton says BMG was looking for well-produced product with an overall distinct feel and musical color not found in their already assembled roster. The artists that his team readily agreed upon were Australia's The Hipstones and Iceland's BMV.

The Hipstones employ an instantly engaging mix of new school funk, soul and jazz, with some heavy blues and the occasional rock-out moment. Recording Artist BMV (born Brynjar Mar Valdimarsson) recent summer hit “Endlessly” reached number 34 on the Top 41 chart in Indonesia and had much success in Bali, Kosovo, Lithuania, Portugal, Macedonia, Iceland and more.

BMG's A&R team consisting of James Minor, Lenny Dockery Jr. and Mark Stevens agree that The Hipstones would be a welcomed addition because of their rhythmically neo-soul jazz-fusion stylizing and BMV would work because of his soft rock with an edge.

Artist Information:

Fronted by Mark Palmer (organ/wurly/vocals) and Anthea White (lead vocals),
The Hipstones debut album, "Something's Gonna Start" is an almost entirely original set of songs and some outstanding string and horn arrangements from Australia's funk'n'soul guru, Jackie Orszaczky. On the International scene, The Hipstones shared the bill with the likes of Chaka Khan, Jamie Callum, Frank McComb, at the Java Jazz Festival in Indonesia, with a massive 100,000 festival attendees. Their Indonesia tour also included the Hard Rock Café in Bali and a more intimate show at a club in Bandung.

Native born, independent Icelandic recording artist BMV is working as a Program- Music Director for the biggest media company in Iceland, on FM 957, as well as recording his first solo album in New York, USA.