Today we’d like to introduce you to Randy Sadd.
Hi Randy, so excited to have you on the platform. So, before we get into questions about your work life, maybe you can bring our readers up to speed on your story and how you got to where you are today.
I grew up in East Cobb and attended Walton High School in the early 80s. During that time, it was a booming era for music with the launch of MTV and Live Aid, and great local area bands like The B52s, REM, and The Producers. My career in music soon got its first glimpse when I attended the University of Georgia in Athens. On a whim, a friend and I started booking bands for local Parties and Events. We had ZERO idea what we were doing, but Athens was an iconic music town, and we wanted to be part of it. We created a list of Atlanta and Athens artists, which happened to include the bands Mr. Crowes Garden and Marching Two Step. Little did we ever think those two bands would go on to hit it big – The Black Crowes and Collective Soul.
After watching that happen, I was hooked. Upon graduating, I eventually landed at a small Indie Label in Kennesaw, GA, called Ichiban Records. I began in the warehouse, where I was shipping out packages for the first half of the day, and the other half, I was making calls to college radio stations, pitching our blues artists for airplay. The label quickly began to grow, and I was fortunate to work my way up to Vice President, spearheading a wide range of radio campaigns for such platinum artists as 95 South “Whoot There It Is,” Deadeye Dick “New Age Girl,” and MC Breed & 2 Pac “Gotta Get Mine”. Overall, Ichiban had a terrific staff and a wide-ranging roster of amazing artists, including Curtis Mayfield, Lil Jon, Ben E King, Drivin n Cryin, Ashford & Simpson, The Fleshtones, Francine Reed, Chuck D, Five Eight, Clarence Carter, Phunk Junkeez, Dash Rip Rock, and more.
I’m sure it wasn’t obstacle-free, but would you say the journey has been fairly smooth so far?
Like any industry, you have to get in the trenches and create your opportunities. At first glance, the music industry seems easy to navigate, but you quickly learn how extremely tough and competitive it is with no clearly defined road map. It’s an ever-changing landscape with varied trajectories, which means a successful strategy may work for one artist but not work for the next. So, you have to peel back the layers truly comprehend the overall picture, and customize your strategy to the strengths of the music and the artist. Yes, overnight successes can happen, but they typically can take years in the making. Over time, your perseverance eventually starts paying off with productive results and career highlights. And the daily prayer to deal with all the craziness doesn’t hurt either!
As you know, we’re big fans of Protocol Entertainment. For our readers who might not be as familiar what can you tell them about the brand?
I have always had an entrepreneurial mindset, so it seemed like a natural progression when I started my own company, Protocol Entertainment. My first client was Atlanta artist Shawn Mullins, who at the time was a local club favorite at venues such as Eddie’s Attic. Shawn had a song called “Lullabye” which quickly exploded at radio, starting with support at 99X from Leslie Fram and Steve Craig. As other stations around the country started playing “Lullabye,” it became one of the most requested chart-topping songs in the country. I soon had the privilege of working with other unsigned up-and-coming artists who went on to success, such as Jennifer Nettles, Butch Walker and Marvelous 3, Fozzy, Rehab, Parmalee, and more.
I then spearheaded the first radio campaign for Fozzy, and back then, it was just myself, along with manager Mark Willis, doing the heavy lifting. Mark asked me to join the management team, and the band now has a full staff, achieving Seven Top 10 singles as well as a Gold Single for “Judas.” I ventured further into the Management arena, taking on clients such as The Outfield singer Tony Lewis, PYLETRIBE featuring Hall of Fame Lynyrd Skynyrd drummer Artimus Pyle and son Chris, Keni Thomas (‘Sweet Home Alabama’ Movie), Hero The Band, and most recently The Guardians of the Jukebox featuring guitarist Rich Ward, which have become one of the hottest live bands around.
Another area I’m very excited about is as the Promotion Director for Atlanta’s Madison Records. Madison is the home to one of the top Recording Studios in Atlanta, which features the world-famous Mixing Console used by Brendon O’Brien for such artists as Bruce Springsteen, Pearl Jam, Train, Stone Temple Pilots, Incubus, Rage Against The Machine, etc. Along with Madison Producers Tanner Hendon and Wyatt Oates, the label has been able to create a special roster of Up & Coming artists in addition to high-profile established artists.
What would you say is the most rewarding part about your job?
Quarterbacking an Artist campaign from the beginning has always been a big aspect of Protocol Entertainment and a very rewarding part of the job. This usually covers multiple areas, ranging from Artist Branding, Song Structuring, Touring and Events, and Quarterbacking the overall Campaign Strategy, etc. Having been involved with many artists and songs over the years, you develop an instinct for effective and creative decision-making. It really is a journey that can take many turns, so your passion has to drive you to outwork yourself on a daily basis. And when an artist breaks with a hit song, there is no bigger rush and rewarding moment. The ‘That Thing You Do’ moment never gets old!
Contact Info:
- Website: www.ProtocolEntertainment.com
