Community Highlights: Meet Jan Seedman of Cadium Music Publishing

Today we’d like to introduce you to Jan Seedman.

Hi Jan, please kick things off for us with an introduction to yourself and your story.
My start in the music business began shortly after I took a job at a financial news cable outlet while completing my college education. A friend of mine at the time was dating Ethan James (née Ralph Kellogg), formerly of Blue Cheer. I had been champing at the bit to get into the business, so when the friend asked me if I would be interested in promoting a record she and Ethan were making, I said yes before she could finish her sentence.

After doing a balancing act between promoting a record and working in TV journalism, I soon began taking on other acts and promoting their records, as well, leading to the formation of a radio promotions company. After promotions and managing a few acts had run its course, I eventually got a job at EMI Music Publishing as an assistant. It was there that I brought in Filter and Stone Temple Pilots to the company (STP was actually called Mighty Joe Young when I came in to contact with them). Soon I found myself pitching songs to major label artists. A few years later I departed EMI, but not before STP’s first album went 4x platinum in the U.S. The week I left, the band’s second record entered the Billboard 200 album chart at number one.

Over the next few years, I did stints at a few companies, including Discovery Records (WMG), where I brought them Mark Morrison (“Return of the Mack”) and Len (“Steal My Sunshine”), though the label passed on both acts, and Chrysalis Music, where I was able to get John Lowery (John 5), of Marilyn Manson fame, his first publishing deal. It wasn’t, however, until I was introduced to an A&R at Roadrunner through a former EMI colleague, that I was able to get an act signed to a record label. That act was Nickelback.

For a period of time, I was straddling both outside A&R at Roadrunner and working at a publishing company that went through BMG Music. While BMG didn’t take up my offer to sign Nickelback to publishing, I still had a fruitful time at the hybrid company (Publishing/A&R/Management) where I was able to get some film/tv placements and take on some management duties for Elliott Smith.

When the BMG-affiliated company turned down my idea to sign then-engineer, Kevin Churko, that was when I decided that I needed to break out on my own, so I started Cadium Music Publishing. With a partner (who departed early on), I signed Churko, who went on to become writer/producer for Five Finger Death Punch, In This Moment, Disturbed, and many others. A few years later I signed Churko’s son, Kane, who became a writer/producer in his own right and had co-writes with the aforementioned FFDP and ITM, as well as writing and/or producing for acts such Papa Roach, Skillet, and more.

While the Churkos have since moved on, I am currently working with writers who write with up and coming rapper, Ekoh, and pop artist, Rachel Lorin. Chester Rushing (actor, Stranger Things) is also a writer I signed and am developing. In addition to my work in publishing, I am helping to build the profile for independent labels, such as Birs Recordings, through Cadium writer/producer, Cisco DeLuna. Birs signed and recently released music from an act I brought them, Los Angeles modern rock group, Piel. Another label I work with is Alternator Records, run by my client, writer/producer/mixer, Michael James.

Can you talk to us a bit about the challenges and lessons you’ve learned along the way? Looking back would you say it’s been easy or smooth in retrospect?
While there are terrific people in the music industry – and some I can proudly call my friends – there are an abundance of people who aren’t quite as honest and forthright as we would like them to be. In order to navigate this speed bump, you need to have patience and a thick skin. Fortunately, I began to create an outer shield when I was 11 or 12 years old. As a youngster, I listened to sports talk radio frequently, and one of the hosts during that time was a gentleman by the name of Bud Furillo. On one of his broadcasts, a caller asked him how he got to be successful in the business. Furillo’s response was that in order for him to get to where he wanted to go, he had to do the “thankless work” at the beginning of his career and to be willing to play the long game. It was at that moment that I decided that whatever career I was going to be in, I would have to recognize that the road would not be easy and to not be discouraged.

Another speed bump is that the industry isn’t regulated, like, say, Wall Street or Medicine. Anyone can get into the music business without any degree, certificate or qualifications and some of those people can make it difficult for others, who actually have a specialty or talent, to succeed.

I would be lying if I said the road in this profession has been easy. While some people make it look easy, everyone in this business has to be on their game and work hard or else there will be turbulence ahead.

Advice: While I was presented with an opportunity to get into the business through a friend early on, I still probably should have pursued an internship a little harder while I was in college. Internships are a great way to meet people more organically and they can increase your chances of building relationships.

Alright, so let’s switch gears a bit and talk business. What should we know?
Cadium Music represents songwriters. Primarily, I am a full-service publisher, meaning that I handle all of the creative aspects of the business (talent acquisition, setting up co-writes, mentoring and developing writers, pitching songs to other artists and to music supervisors), as well as the administrative aspect, which is essentially getting my writers paid.

In addition to being a publisher, a forte of mine is finding talent early that will become commercially successful and finding songs that will be hits for artists.

Are there any books, apps, podcasts, or blogs that help you do your best?
I don’t necessarily look to anyone outlet that helps me, though I think for a fundamental understanding of the music business, one should read This Business of Music by M. William Krasilovsky and Sidney Shemel, as well as All You Need to Know About the Music Business by Don Passman. For daily information and chart data, it’s always a good idea to read Billboard Magazine; and while there are multiple blogs and bulletins that report on the latest developments in the industry, one that I read consistently is an online publication called Digital Music News.

Image Credits
Cisco DeLuna