Understanding What Artist Management is

Although the term Management is often confused with the word Agent (and there is a link between the two) there is a
huge difference.

I operate both a talent booking agency and talent management company because although I would love to be able to
devote more time to management I need to also book entertainers to make a living, and I'm proud to be working with
some of the best like: Angela West & Showdown. Angela truly is one of the great ladies of country music and I'm happy
to say one of my best friends in the business. With that said my love and desire is to manage.

In the early to mid 1970's I managed Ken Lyon and Tombstone an enormously popular Rhode Island based blues band
that was signed to Columbia Records and released an album which spawned a huge regional hit called "Sing Song City."
The band toured with acts like: Steppenwolf and Mott The Hopple as well as doing many of their own headlining gigs.
Although the band eventually broke-up and our business relationship came to an end, leader and innovator Ken Lyon is
still widely acclaimed today and is still a great performer.

During the broadcast phase of my career, while working at WCTK-Providence I was offered an exciting challenge in 1997.
While making a station related appearance, Sally Ann Roberts the president of the C.M.A. of Rhode Island introduced me to
a 12 year old year old dynamo named Deana Marie. I liked Deana and her mom Pat and father Mario from the moment I met
them and before I realized it, with my partner (that year) Ron Gossett was managing her career. I worked with her until 2002.
Thru nothing I did, Deana in a sense became famous because she was the inspiration for a dear friend (of mine) Maurice "Popeye" Dickens to start, R.I.C.H. Rhode Island Country Horizons, an organization -the first of its kind in New England- to encourage young
New England based performers to persue a career or atleast to hone their skills within the confines of country music. She was the
club's first national winner and with the dual title(s) "New England Youth Performer" and "Northeast Country Showdown Female Entertainer," competed in Las Vegas NV in a North American wide talent event under the direction of the North American Country
Music Organizations International (N.A.C.M.O.I.) Although she did not win the event, she was named "1999 Rising Star," The experience and her obvious talent helped her to be named "2000 Junior Performer," by the Massachusetts Country Music Awards Association and lead to appearances with Shania Twain, Roy Clark, Vince Gill and Billy Gillman -all of this after being diagnosed with Juvenile Insulin Dependant Diabetes. Because there was some interest by major record labels, my wife Gen and I made
several trips to Nashville. However we were never able to work out a deal that I thought would benefit Deana. Shortly after
reaching her 16 birthday Deana decided to persue a different direction in her life. To this day we are still in-touch and I see
her family whenever possible.

During much of this same period, I managed, my most successful artist, Big Al Downing. (read about Big Al all over the
web or by going to http://www.unicornone.net/bigal.htm ) My wife and I worked with Big Al until he passed away in 2005.

On the surface Management is thought to be the same as booking. It is not!. I have found that, most of the time, when
a band (or solo performer) will ask for management what their asking for is someone to guarantee them work, which is
what an agent does. A Manager's job is different. In a sense the manager acts as a wedge between a band and an agent,
looking out for the best interests of the performer(s.) With Big Al although I booked work for him, I often accepted bookings
from agent's because after-all I was his Manager. My wife designed and sold his merchandise. I confirmed his dates, accepted
the deposits, made sure his accommodations were arranged and collected his money, making sure his musicians were paid,
and in the case of a house band we made sure they had his lead sheets, lyrics and copies of his music so they could learn the
material. We attended in person as many of his performances as possible, and looking back over the length of time we spent
together that amounted to a lot.

What I'm looking for is an individual performer or band that has either recently signed with a legitimate record label or is
in negotiation and needs management -or an unsigned regional performer or group that I feel not only has the potential but
has a great attitude as well. I won't be someone in the background. I'll be very upfront. A person who will be a strong voice in
the overall philosophy and musical make-up, handle most if not all business dealings, especially those requiring a contract
which would include, when appropriate, locating a major national talent agency, and if requested thru, our affiliation with cash-
management will help you plan your financial needs now and in the future. This is the same firm that handles my financial
requirements.

ONE MORE THOUGHT: Most of the time It disturbs me when I get a call from the parent of a young daughter or son who is anxious
to get the child a national record contract. Convinced that stardom is just around the corner they will book a recording session,
which can easily run into thousands of dollars and then figure out how to get the child signed to a record label and in 90% of the cases the kid has never performed with a live band. As most of us know this is the backward approach to finding success in the
music business. All people have dreams. The question is: Whose dream is it! If the child wants the same thing as the parent;
how hard will he or she work to achieve it? It's been my experience, most of the time, that the talent and/or work ethic is simply
not there or it's simply impossible to know for sure because the child has never had any training and is so young. What amazes me
is how often the child simply does not want to do it, but doesn't want to disappoint the adult. Often I have conveyed my observations to a parent. You can only imagine their response. Usually anger directed at me. If I ever find the right opportunity to work with a
young girl or boy again, it will be someone with not only the ability but drive too! it will be a person who is willing to make the total commitment which would include voice and dance lessons, learn to sing and perform with a live band, usually for charitable events and at Jamboree's, and perhaps as equally important have a parent who will trust that I am doing the right thing, and like I did in 1997 I will look this young person straight in the eye and say, "If there's ever a time you don't want to do this anymore, just say, you don't want to do this anymore," and if that time comes, I'll walk away as should the parent or anyone wanting what's best for
another person, because in the end we have to each find our own happiness. Not someone else's view of what that should be.

The musical genre is not important. What matters is whether we can find a basis from which to develop a solid relationship.
I look forward to hearing from you.

Thank you.

Jeff Davis

508.498.8607 jeff@unicornone.net