Overseeing all things Urban and Creative at one of the industry’s most successful independent music publishing companies, is Kevin Hall—an executive recently promoted to Vice President at the
company that was founded more than three decades ago by Jerry Moss & Herb Alpert. Reporting directly to the company’s President Lance Freed, Kevin works with a roster of talented songwriters that include D.O.C., the Trak Starz, Kwame, and collectively Eric Dawkins, Steve Russell and James Fauntleroy through a joint venture with the hit-producing team the Underdogs.

One of your more recent and successful finds is the signing of Kwame a couple of years back.
Yes, after I signed the Trak Starz to Rondor, I signed a gentleman named Sly Jordan who wrote on a track for JoJo’s first album called, “Breezy.” The track Breezy was by Kwame. I hadn’t heard a track like that in a long time. I really focused in on Kwame and the kind of production he had coming, and really went after him. An animated track is a songwriter’s best friend. He was a great find. Additional credits include writing/producing for Pussycat Dolls, Christina Aguilera, the Will Smith, “Switch” record, and has new songs with Mya and the Talib Kweli single called “Listen.” We also had recent placements with Kwame on the Step Up movie and soundtrack.

In addition to Kwame, what are your proudest achievements so far at Rondor Music Publishing?
I look at it all as a blessing. One of my first key moments is signing the Track Starz prior to their success with Chingy and their first four singles were top five records. And on a personal level, signing the D.O.C. D.O.C. has been a long-time collaborator of Dr. Dre’s and continues to work with him. He has songs on Snoop’s upcoming record on Geffen. Watching his growth back from when he was working with Eazy E, until now—it’s really good to be in business with him. Last but not least, the aforementioned Sly Jordan. The former writing partner of Balewa Muhammad has penned records for Jessica Simpson, Kelly Rowland, and JoJo. Of late, he spends most of his days working with Dr. Dre. So many people had slept on him, oh well!

How much of your day is actually interacting with your writers?
I can’t speak for other publishers, but what I know about music publishing is that we have to roll up our sleeves for our songwriters. The culture at Rondor is to be a very writer-friendly environment. My days primarily are dealing with the songwriters from the time I get in until I go to sleep at night. Being at a corporation there is a lot of paperwork that one deals with, and then looking for opportunities for our writers, whether they be on film or TV projects, commercials, etc. Another big part of my day is dealing with A&R executives to see who is looking for material.

How difficult is it pitching songwriters to various projects nowadays?
It’s probably easier the more successful the writer is. It’s a little more difficult if the writer doesn’t have any track record to go on. However, it does happen. We really try and work closely with music supervisors to see the type of projects they have and give the songwriters as much lee-way as possible to get on.

In your opinion, where do you see music publishing going?
So much music today has been pretty disposable. Somebody who has a hit this year may not have one next year. As a music publisher you want to be on that next thing. The record labels wish to continue doing business with people they have done it with before. That’s why doing joint ventures with various producers or production companies can be both beneficial and detrimental. We have to be selective and careful. Joint ventures have not been that great for publishers in the past. It’s been like a blank check to a producer or production company to sign stuff they feel will work. But they are the ones on the front line of what’s going on. They’ll be able to get certain songwriters and have access first. Our joint venture with the Underdogs has worked. They have great writers and contributors in their camp and they have had access to viable hit projects. I also see the return of “real songs.” The public is still hungry for a great song.

How important is maintaining relationships in this business?
I think they are key. If one looks at my story as one who had been out of the business for a number of years and having come back (Hall previously worked at PolyGram Music Publishing, PolyGram Label Group, Island Records), it’s really a testament to having relationships with people. One of the people responsible for making me aware of this opportunity was a manager of a writer that I had signed previously. Maintaining relationships is very important, because you never know what kinds of opportunities may arrive from them.