Each year the PMA awards the Hall of Fame honor to an individual of a current or pre-exisiting production music library whose work has made significant contributions towards the advancement of the production music industry. Below is the list of honorees over the years.

2019

Jim Long

The Dallas Morning News once reported in its Business Section that “Just about anything you hear on a radio – except the news, the time, and the temperature – could have first been a product of Jim Long’s imagination.”

Described by music historian Don Worsham as a “radio guru”, Jim Long’s name is synonymous with brilliance, strategy, and creativity in the broadcast and production industry.

His name is also a nod to his Irish grandfather whose name, Jim Long, was easier to pronounce as he started his first full-time job as a teenage radio announcer at WDEW in Westfield, Mass. At 24, he used his birth name, Timothy Moynihan, as the source initials – along with composer Tom Merriman’s to christen their partnership, TM Productions.

A charismatic businessman, in love with radio and music, Long anticipated trends and has consistently turned them into music production campaigns and services that created wealth, ratings, and opportunities for his clients, his partners, and his employees.

And, just as Long was mentored by “the father of modern advertising”, David Ogilvy, he has shared his expertise and mentored many in the music and entertainment industries. Ignoring prevalent sexist attitudes toward hiring and promotion, Long often chose women to become his executives and run his companies – and that was over 40 years ago.

An entrepreneur whose pioneering marketing concepts and creative “firsts” are iconic in the broadcast and music industries, Long has been involved in broadcasting and music production since he started his own in-house (as “in” his basement) radio station at 13 – and first record company at age 15 when he produced and released a regional hit for Roger and the Markees.

Prior to developing LA-based Elias Music Library and the music licensing service, CrucialMusic Corporation, Long founded and operated award winning, internationally recognized music publishing and music library companies in Dallas, Nashville, and LA, including the TM Companies, FirstCom, Long-Pride Broadcasting, OneMusic Corp., and Point Classics. After growing his businesses [delete-into a peak performer], Long sold his companies to various corporate players, including Starr Broadcasting, Disney’s Shamrock Broadcasting, Clive Calder’s Zomba Enterprises, OneMedia, and BMG (later acquired by Universal Music).

His music placements are too numerous to name, but include Academy Award and Golden Globe winning motion pictures, as well as broadcast licensing and syndication for radio, television and film. In addition to countless honors for his work in commercial advertising, his producer credits include a Grammy nominated album and a country music Pioneer Award.

His understanding of human behavior, the result of graduate degrees in psychology – and reliance on his own intuition – has served him well in identifying markets, strategies, and talent. Many musicians and composers owe their “mail box money” to Long’s savvy and generous publishing deals. His vision – and love of his Irish roots – saw the Celtic Tiger coming, so his record label, Honest Entertainment, introduced a select group of artists previously unknown in the US market to a broader audience and (always welcome) expanded royalties.

Diagnosed with Parkinson’s Disease in 2007 – the likely result of an auto accident in 1991- Long continued to work and serve as Chairman of Elias Music Library until its sale to Universal Music Group in 2018.

He is an active supporter of the Michael J Fox Foundation for Parkinson’s Research and MusiCares, the non-profit foundation of the National Academy of Recording Arts and Sciences (NARAS), which provides services and assistance, in times of need, to musicians and other members of the music community.

One of his longest and most successful partnerships has been with his wife of 30 years, Deborah, who shares his passion for music and life – and golden retrievers. They are practicing being retired, while trying to keep up with Long’s 101 year old mother, Marion – who still beats them at cards – and his Tokyo-based grand-daughter, who has made a name for herself (“Chiaki”) as a musician and popular DJ in Japan. It must be in her DNA . . . Despite a short-lived period as an adolescent drummer, Long’s son prefers the humming of computers and is an IT specialist in Hawaii.

2018

Sam Trust

Sam Trust entered the music business in 1958 at BMI where he rose through the ranks to Executive Director of Publisher Relations during his 10 years of employment. In 1969 he was named president of Beechwood Music Corporation (Capitol/EMI’s U.S. publishing company), where he achieved numerous hits and BMI’s top performing song. In 1971 Mr. Trust left Beechwood to establish Trust Music Management, and in 1973 was named president of the newly formed ATV Music Corporation. He was later named chief executive for ATV Music Group world-wide in 1982, and served in that capacity until 1985. In January of 1986, he became president and CEO of Lorimar Music Division.

Mr. Trust created and was President of Killer Tracks in 1989, which was eventually sold to BMG in 1997. Currently, Mr. Trust is retired in Carmel CA., but represents Doris Day’s music catalog and serves as an expert witness and consultant.

2017

Romano di Bari

Born in Rome in 1936, Romano Di Bari, at the age of 24 starts working for RCA Italiana, at the time the top record company of Italy and among the big ones in the world. From the very beginning Di Bari is given the responsibility of important departments of the company, reaching in a short time the level of Personal Assistant to the Managing Director, and eventually the level of Assistant Manager of the International Liaison Dept., in care of the international promotion of the publishing catalogue and of the roster of RCA artists.

At the beginning of 1966 Di Bari accepts the direction of Ariston Records in Milano. He spends almost two years in this position, then, finally, in May 1968, he returns to Rome to start his independent business: Canopo Music Publishing, shortly to become Flippermusic Publishing, to this day leader of Italian and international dealings in production music.

The years spent in RCA Italiana and Ariston Records had given Di Bari a solid base of experience in international publishing and had allowed him a complete understanding of the fact that in 1968, in the music business, then totally in the hands of the local and international majors, the only niche available for a new business venture was library music. At the time only a few French and English publishers (and a scant one or two Italians) were active in publishing background music, considering that this slice of the market could be expected to gain future importance in view of the development of commercial TV and connected film and advertising activities.

So it was from the very beginning that Canopo and, a little later, Flipper Publishing Companies began issuing 33rpm LP’s under the labels Canopo, Deneb, Flirt, Octopus and distributing them in accord with the rules Di Bari had become familiar with during his years in RCA.

The results of this line of growth showed rather quickly, allowing to overcome the problem of limited initial investments and the delay of 24 months with which SIAE, the Italian Copyright Society used to pay royalties. The success of the repertoire with the music supervisors of the Italian State TV and the increased request of library music for sync purposes in the developing field of TV commercials and documentaries, allowed Flippermusic to catch up, and in 1975 the company was issuing fifteen 33 rpm long playing albums per year, that would become twenty and more the following years.

The real change of the company took place in 1987 with the appearance of CD in the international market of discography. Di Bari understood the opportunity and the unique occasion to take advantage of this technology to gain new commercial space until then occupied by the majors with vinyl records. In that year only two CD manufacturing companies were active (and very expensive) in Europe: one in Holland, the other in Austria; Di Bari made a deal to press with the latter at very special prices. In the same time Di Bari created in Great Britain a new company, the Primrose Music Publishing to give an international opening to his new catalogue in order to reach with more effect the international market. After a careful selection in his existing vinyl repertoire, he started his CD catalogue of library music with an opening release of 30 CD’s, thus becoming the first in this branch of the production music market, beating on time the international companies that hadn’t realized yet the extra advantage that compact disc would represent for the future in production music.

The first presentation took place in Great Britain and was very successful. From there on, the Flippermusic catalogue has spread all over the world reaching today 39 countries where its repertoire is exploited. At the same time, to widen the choice of music and to increase the company’s position in the growing domestic market, Di Bari started to distribute and represent in Italy foreign libraries from all over the world with the purpose of supplying the domestic users with a generalist catalogue where all possible request of music could be satisfied.

Today Flippermusic owns a catalogue of about 20.000 original titles and releases seventy to eighty new albums each year with over 1000 new titles and represents more than 100 foreign libraries with over 400.000 titles in total to maintain a continuous flow of original music ideas to match the new requests of production music in domestic and international markets.

During the years Di Bari has always kept in mind the possibility to make production music accessible to the normal audience following the concept that music is music and there is no difference between production music and commercial music except lyrics. Instrumental music, normally used together with images, but also without them, has the power to generate in the human mind the same emotions created by a song with lyrics. Basing on this principle and using the streaming technology Di Bari has recently launched the label Extraball and the Emotional Music Collection, a site specialized in emotional music, or rather in music fit to underline human emotions. These compositions have been classified according to the 50 moods or feelings most common in human nature, with the purpose of helping people to live their emotions at their best accompanied by the music inspired by the mood of the moment. The site “The Emotional Music Collection.com” is helpful in selecting music compositions to suggest and accompany the soundtrack of everyday life.

2016

Peter Cox

Peter Cox, formerly the Managing and Creative Director of EMI’s benchmark Production Music Library KPM, on whose behalf Peter co-created APM, is being honored and inducted into the prestigious Production Music Association ‘Hall of Fame’ this October, in Los Angeles.

Peter now produces and curates all product for the West One Music Group label ‘The Scoring House’, and his work and intimate knowledge of all things concerning the production and exploitation of media music has been continuous since 1974.

Peter appeared in the production music industry after a career as a successful Folk Music solo performing artist in the late sixties and early seventies in England, performing on the same bills as Paul Simon and Art Garfunkel, Tom Paxton, Julie Felix and Al Stewart, to name but a few. Peter’s career then moved on as a recording artist, signing with Atlantic Records and then DJM, where Dick James wanted an artist to perform and record songs penned by new signings Reg Dwight and Bernie Taupin, ‘Your Song’ and ‘Holy moses’ being included in those early sessions. A short run of US appearances with Reg, now re-branded as Elton John, performing his own songs alerted Dick James to the potential of the Elton John formula, and thus emerged a global superstar, while Peter successfully answered a small ad in Melody Maker, which read “Wanted: Somebody with a thorough knowledge of music to join a music publishing company”. Thus, Peter was thrown in at the deep-end in the early days of KPM as producer, working with such production music legends as Keith Mansfield, Johnny Pearson, Johnny Scott and Brian Bennet, with Adrian Kerridge as sound engineer.

After 35 years at EMI Music Publishing, including 25 years as Managing and Creative Director of KPM coupled with 6 years on the board of PRS, Guy Hands acquisition of EMI Music classically failed to leave a perfectly successful division well alone, and Peter was made redundant and was offered the opportunity to create a new label ‘The Scoring House’ for West One Music Group with zero interference! This move not only re-united Peter with his old friends at APM, who represented the West One Music Group catalogues in North America at the time, but also the creative talent pulled together over many years by Fireworks Music for KPM under an output deal, which included, Richard Harvey, Graham Preskett, Brian Gulland, Nick Glennie-Smith and Harry Gregson-Williams, amongst many others.

Peter has seamlessly moved from vinyl, to CD, to online, and has produced more Production Music albums and hours of music, and signed more writers than anyone in this industry, his standards remain as high as ever, and his ears and dedication to bringing the best out of the wealth of musical talent around the world are as keen as ever. So, it is fitting that the PMA have decided to recognise such a consistent and globally respected creative force.

2015

Gerhard Narholz

Gerhard Narholz was born in Austria and founded Sonoton Music in 1965 with his wife Heidi Narholz. 2015 marks the company’s 50th anniversary. Having invented the well-known and now standard “underscore,” along with introducing the first search program on floppy disc in 1992 among many other groundbreaking creations, Narholz continues to pioneer and push the boundaries of production music.

Gerhard Narholz is also a classically trained composer, arranger, and conductor in a wide array of music styles and genres. From 1970-1980 he also had a successful career as a Decca Records/Telefunken recording artist under the name Norman Candler. He has published thousands of works and may very well be one of the most published composers in the world, writing under several pseudonyms as well as his own name.