EDITOR-IN-CHIEF AND PUBLISHER — Chris Ziegler — firstname.lastname@example.org
MANAGING EDITOR / BOOKS EDITOR — Nikki B. — email@example.com
ASSOCIATE EDITOR AND SOCIAL MEDIA — Kristina Benson — firstname.lastname@example.org
EXECUTIVE EDITOR — Daiana Feuer — email@example.com
NEW MUSIC EDITOR — Dan Collins — firstname.lastname@example.org
ARTS EDITOR — Drew Denny — email@example.com
COMICS EDITOR — Tom Child — firstname.lastname@example.org
CALENDAR EDITOR — Shane Carpenter — email@example.com
FILM EDITOR — Rin Kelly — firstname.lastname@example.org
Nikki B., Kristina Benson, Chris Ziegler
Matt Dupree, Ron Garmon, Geoff Geis, Jason Gelt, Zachary Jensen, Sean Manning, Justin Maurer, Sean O’Connell, Jesse Perez, Stephen Sigl, Daniel Sweetland
Ryan Clark, Chris Jackson
L.A. RECORD was called L.A.’s “most formidable music magazine” by the Los Angeles Times and is the city’s definitive music publication. L.A. RECORD was started in 2005 on a bedroom floor by Chris Ziegler, Charlie Rose, Dan Monick and Sean Carlson as a one-page weekly broadsheet dedicated to Los Angeles music of all genres and generations. After only two issues, what started as just a fun idea became the latest in the long local tradition of independent music press—connected by the Huffington Post to L.A. icons like Slash and Flipside, and connected also to the philosophies of groundbreaking California zines like Bomp! and Search and Destroy, as well as contemporaries like ANP and Arthur. After almost five years, L.A. RECORD is still a totally independent grassroots print-and-web operation, run and staffed by writers and artists from across the city.
Besides its always unique (and sometimes bizarre, sometimes life-affecting) interviews, L.A. RECORD’s most famous feature is probably its album cover recreations. This started with the very first issue and the Rolling Blackouts recreating the New York Dolls’ first album cover, in honor of the Dolls playing that year’s Sunset Junction. These all-live recreations—heavy Photoshop didn’t come in for years!—quickly became a tradition, and featured local bands visited thrift stores and costume shops across L.A. in order to accurately re-create albums by icons like Nico, the Stooges, the Doors, Fleetwood Mac and more in L.A. RECORD’s Atwater photo studio. (Which flooded twice.)
L.A. RECORD finished Volume One after 29 issues running from August 2005 with the Rolling Blackouts as the New York Dolls to March 2006 with Melvins collaborator and solo artist David Scott Stone as Thurston Moore on Sonic Youth’s “Starpower” single. Volume Two was also a weekly broadsheet and ran from February 2007 (with Big Business as Cheap Trick) to December 2007 with AntiMC as Soft Cell. After 75 weekly broadsheets, L.A. RECORD began publishing as a monthly magazine with a centerfold poster in March 2008. Volume 3 began with Pocahaunted and BARR (as Kate Bush, kind of) and concluded with the Happy Hollows and Carlos Nino and Miguel Atwood-Ferguson recreating a Ravi Shankar album, and Volume 4 began in March 2010 with Acid Circus and Miranda July as Nico and concluded with the Soft Pack. Copies of issues from the first two volumes are very rare and unfortunately are not available even from L.A. RECORD, but back issues of Volumes Three and Four may be purchased at shop.larecord.com.
Along the way, L.A. RECORD was the first publication to ever interview bands like Cold War Kids and No Age as well as the first publication ever to put artists like Flying Lotus, Gaslamp Killer and more on its cover. (L.A. RECORD also had Isaac Hayes’ last known interview in August 2008.) L.A. RECORD has also been lucky enough to include a roster of amazing contributing writers, photographers and artists—including many local musicians—and after five years remains free of charge to everyone everywhere. (Although you can still subscribe!)
As of 2013, L.A. RECORD has now reached over 100 issues and is printing bi-monthly. We thank you for your years of support!