“The three of us were always able to discuss the work at hand without worry of offending each other. “They were my two closest friends,” Lowe says. Both had been with him since his career renaissance in the mid-1990s. So you think, ‘Why would I put myself through making another record?’”īut beyond those practical considerations, Lowe faced a larger emotional impasse – the untimely deaths of his two longtime creative partners, drummer Bobby Irwin and producer Neil Brockbank, in 20, respectively. You can travel in quite a degree of comfort and be nicely thanked for your efforts. Also, the live thing is so easy to do now. Never mind that nobody really buys records anymore. Plus, to make the kind of records I know how to make is incredibly expensive. So I wasn’t exactly laden with new material. I can spend quite a long time fiddling around with some little two-and-a-half minute tune, then finally go, ‘Oh, I’ve heard this before so many times,’ and just drop it. I write songs all the time, but the thing about getting older is that I’m extremely self-critical. “First, I’ve never been particularly prolific. “I’d been dodging the thought of making more records for a few reasons,” Lowe says. But suddenly, the affable rocker-next-door felt he had to step back to take stock of his situation. As detailed in a lengthy retrospective feature in Rolling Stone this past December, Lowe had ridden into 2018 astride a storied forty-plus year career as an artist, producer and one of the most-revered songwriters of his generation. Three years ago, Nick Lowe had almost convinced himself that his days of making records were over. recorded music sales market in 2016 based on copyright ownership, making Independent labels collectively the largest music industry sector. Billboard Magazine identified the Independent music label sector as 37.32 percent of the music industry’s U.S. In doing so, it supports a key segment of America’s creative class that represents America’s diverse musical cultural heritage. ![]() A2IM represents these independently owned small and medium-sized enterprises’ (SMEs) interests in the marketplace, in the media, on Capitol Hill, and as part of the global music community. Membership currently includes a broad coalition of more than 700 Independently-owned American music labels. As a manager and leader in the company, Mariah has worked with our partners in the digital space to bring a top-tier level of marketing and execution for all artists under the music group banner.Ī2IM is a 501(c)(6) not-for-profit trade organization headquartered in New York City that exists to support and strengthen the independent recorded music sector. Her work with both younger developing acts as well as heritage artists showed a clear understanding of the digital landscape. Mariah has embodied the independent spirit since her first day as an intern with Yep Roc. ![]() Mariah is a graduate of Elon University with a B.A. She also is involved in A&R for the label. In addition, she manages the Yep Roc Digital Marketing Team, overseeing social media, advertising and email marketing efforts and digital asset creation. Over her seven years at the label, Mariah has directed worldwide marketing campaigns for Mandolin Orange, Robyn Hitchcock, Born Ruffians, Tift Merritt and Blitzen Trapper, among others. Mariah Czap is the Co-General Manager and Head of Digital at Yep Roc Records, where she develops and leads strategies that impact streaming and digital sales. ![]() Please meet our this week’s featured executive, Mariah Czap, Co-General Manager/Head of Digital at Yep Roc Music Group. Do you or someone you know fit the bill? Submit an executive here. We will highlight executives making moves and supporting the growth of the independent community. Welcome to A2IM’s Featured Executive feature. A2IM Featured Executive: Mariah Czap, Co-General Manager/Head of Digital, Yep Roc Music Group
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