In my quest to develop a pop-star, I find a new music label name that millions of us already use conversationally, and fight the world’s biggest music company to keep it. I share experience of two hard-core London sales offices. My sales commissions pay for a range of dishonest – or just plain nasty – producers (African, Indian and aristocratic English). I use real names. Then, with decent people, on a tiny budget I do albums with two different girls. The second was chosen for The Voice, I get her radio plays, a good PR company, major UK & US female charity support, Tweets from Marie Claire UK & US, praise from Harvard University, a video whose song had only Likes and (even without promotion) 1000 Views in weeks. And yet, so far…

Dear Anton,

Thank you for sending this material and it’s interesting to read not just about some of your adventures in the business, but also your sales experience which
was certainly noticeable on the phone! I can see that there could be a lot to like about your book – that loser-ish tone can be wryly amusing and it’s a different angle from which to tell a story about a business which is so often full of
bombast… Nick.

(Nick Sayers, ex-Publishing Director of Harper Collins, just as he changed companies).

EXAMPLES

DARREN SCOTT – SEX PEST

Mark, an old friend from Howard’s, invited me to join Entico. Meeting James Ramsey, the Managing Director of Entico (RTCC) for the first time was a pleasure. From his baby face, he has a soft, comforting voice for quite a tall, plump man. He smiles easily, is a good listener, gives the impression – without needing to say it – that he wants to do all he can to help. He dresses smartly but conservatively, and is equally unobtrusive as he glides through the sales floor to his office at the back which does not look onto the sales floor. Namely, he doesn’t want to be in control; he’s the opposite of Darren Scott.

As Darren, Entico’s sales manger interviewed me in May 2013.
I would be joining a small team of hotshot salesman to fin

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JIMMY HAYNES (mid-chapter excerpt) Learning from my previous greed in Bournemouth, I planned not to do 30 songs but let Jimmy choose just four to produce to the highest level I could afford. Since he’d written for and produced big names like Des’ree and Steel Pulse through the late 70s to mid 90s, and been the lead guitarist of Aswad, the UK’s top 1980’s reggae band, who had a no. 1 with Don’t Turn Around and did the brilliant Shine. I told him that I paid £50 – £80 a track in Ringwood before he set his price. Of course he laughed out loud but I’m sure my ‘joke’ saved me at least £100 a track. I felt lucky to get away with £400 for each one given that he signed away all rights. Most studio-evenings, I supplemented his income with running out to buy us fish ‘n

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FAT FUCK AT QUITE SHITE

In 2011, Leonie Soprano was being launched by Quite Great PR and KillerChorus. Quite Great got her three regional radio interviews. Nobody needed to know that Leonie – who went on the interviews thanks to the domestic violence angle – was not at all interested in the subject (unlike Laura who, between herself and several women close to her, had real experience of this nastiness). But apart from Quite Great PR getting Leonie those interviews, I wondered whether they had, as arranged for their £2,000, presented her angelic face and monster mammaries to the lad’s mags or mainstream women’s mags; they could’ve used the domestic violence angle, could’ve used the fact she was a burlesque performer. They didn’t. (In fact, it was Pete Bassett, Quite

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My Works

ThisClaimer

All characters appearing in this work are real. Any resemblance to real persons, living or dead, is completely intentional.

My reading chapter excerpts (not particularly professionally but you’ll certainly get a flavour).