Part One: Music Attorney Brian McPherson (Interview)

If you've followed independent music over the last two decades, local attorney Brian McPherson has very likely had a hand in your listening experience.

I recently caught up with McPherson to discuss his experience in the music business, how he works, and what he looks for in bringing on, and shopping, new clients--as well as a little band called Neutral Milk Hotel.

Patch: You've been at this awhile, Brian. How did you initially get your start in music, specifically entertainment law? 

Brian McPherson:  I was a DJ at what I think was a pretty great college radio station - KSPC in Claremont - for four years.  During my senior year I got an internship at I.R.S. Records who still had R.E.M. and Let's Active and other bands at the time.  I interned there a few months and then got hired as assistant to the head of A&R, Dennis Herring. 

Dennis was (and is) a great guitar player and producer, and through him I met Dave Snow who was co-managing Camper Van Beethoven at the time.  We tried to sign Camper but they wisely signed to Virgin.  Dennis ended up producing the first two Virgin albums, and I helped out around the studio on the first one.  Anyway, Dave Snow introduced me to Rosemary Carroll, a music lawyer in Beverly Hills. Her firm gave me a job, and I worked there the last two years of law school.  I really just worked there more or less full time and didn't go to class much. The firm had a purge right as I passed the Bar exam, so I went out on my own.  

Patch: When did you move to Los Angeles? Was it [the move] for the work? 

McPherson: I grew up in the Inland Empire and went to college in Claremont.  I drove on down the 10 to LA in 1987 when I started working for IRS. 

Patch: You have a long working history with the folks at MERGE--Records going back twenty years or so. There seems to be good synergy. How did the two of you hook up? 

I just loved Superchunk so I walked up to Mac and Laura after a show a Munchies in Pomona on the “No Pocky” tour, and we had lunch at Paru's in Hollywood the next day. We've worked together ever since. At that time there was a huge rush by the major labels to sign the “next Nirvana,” and they were one of the sought after bands. 

They (wisely and politely) spurned all the major label interest, but when the time came to do some contracts (I think their publishing deal was the first thing I worked on) they called me.  I think we both have a certain artist-oriented point of view,  and we are interested in doing business in an ethical and equitable way.  For the most part, we've been able to work with people who are like-minded.

They also all have a certain joie de vivre that really appeals to me and that I can identify with, whether it's related to food, drink, music, what have you. They do their business on their own terms and (for the most part) enjoy it and are able to maintain a level of decency and respect.  I'd like to think that I have traveled the same path. 

Patch: Aside from label work, who were some of the first artists you took under your wing?

Brian McPherson:  Jad Fair, Idaho, that dog, Lutefisk, Money Mark, Cracker, Beck, Hiro Yamamoto from Soundgarden, Truly, Neutral Milk Hotel, Apples in stereo, Radar Bros., Fig Dish, Olivia Tremor Control . . .

Check back for Part Two of my conversation with Brian McPherson. It's coming soon on Echo Park Patch.