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MarkyGoldstein 11th February 2012 08:40 PM
Continuata | Continuous delivery of your digital products

Continuous delivery of your digital products
Continuata | Continuous delivery of your digital products

They seem to bring a solution for distribution of large sample libraries, etc.

Current clients:
Spitfire Audio
Time & Space

Who here has experienced problems downloading large sample libraries or instruments?
ncoak 10th February 2012 12:39 AM
Music Labels’ Joint Venture, VEVO, Shows Pirated NFL Game At Sundance | TechCrunch

Over the last decade the major music labels — and their trade organization, the Recording Industry Association of America — have established a repeated pattern of attacking consumers in the name of squelching illegal file-sharing. Piracy, they claim, has been the industry’s undoing, accounting for an over 50% drop in sales since 1999 (the industry likes to discount the impact of legal per-song music downloads via services like iTunes, and the myriad other changes facilitated by the rise of high-speed Internet connections). Their efforts to combat piracy are often draconian: threatening tens of thousands of people with lawsuits claiming obscenely high damages; attempting to coordinate their threats with consumers’ ISPs; and, most recently, supporting legislation like SOPA and PIPA that would undermine the fabric of the Internet. Hell, Universal once pulled down a 30 second YouTube video of a dancing baby because the baby had the audacity to dance to a Prince song. Which is why my jaw dropped when I saw that VEVO, a property jointly owned by some of the biggest record labels in the world, was showing a pirated stream of an ESPN football game at its Sundance PowerStation venue last month —*on no fewer than two televisions, and a pair of laptops.
well, er, that is

Music Labels’ Joint Venture, VEVO, Shows Pirated NFL Game At Sundance | TechCrunch

msl 8th February 2012 12:51 PM
Wow I'm amazed someone would go this far, and to top it off pick a rather well known artist like di Stefano. Shocking stuff, true nightmare. Guy is obviously a pathological lier, god how sad.

Guy who stoles over 15 tracks from Alex Di Stefano!

charles maynes 6th February 2012 06:37 PM

I just got a news article that they shut themselves down in response to the MegaUpload prosecution......

btjunkie 2005 -> 2012
simmerdown 4th February 2012 11:58 AM
Barcodes - Indie Artists Alliance

QuickUPC barcodes are an inexpensive solution for both physical and digital albums. Pandora, Amazon, CD Baby, Tunecore and iTunes all require that you have a barcode for your Digital Albums. All stores require that you have a UPC Barcode (or EAN outside of the United States and Canada).
Has anyone heard of this place? Barcodes - Indie Artists Alliance it leads to this place Quick UPC

i'm releasing a couple 2 and 3 track digital singles which need a barcode for ppl (uk charts), but have been told to stay away from cheap barcode places as a lot are fake

i've been getting them on CDBaby up until now, just putting out single tracks (9 dollars), but now i'm releasing some 2/3 track "digital" singles, so i'm not going pay their 49 dollars for that, madness! lol
sventvkg 1st February 2012 09:44 AM

It's How Music Get's Around
Ianb007 31st January 2012 06:03 AM
I don't normally read Techdirt but I somehow came across this report from MIDEM

The Sky Is Rising: The Entertainment Industry Is Large & Growing... Not Shrinking | Techdirt

Some of the key points:
Entertainment spending as a function of income went up by 15% from 2000 to 2008
Employment in the entertainment sector grew by 20% -- with indie artists seeing 43% growth.
The overall entertainment industry grew 66% from 1998 to 2010.
The amount of content being produced in music, movies, books and video games is growing at an incredible pace.
Of course, some of this is a challenge for many existing players, but it should be seen as an opportunity. In fact, we conclude:
Just by reading it seems that we have nothing to worry about.

It turns out that music concert sales went from 1.5 billions to 4.6 billion from 1999 to 2009 according to their report. They somehow forget to mention music sales decreased about 50% in that same time period.

Torrentfreak took this and ran with it asking it's readers "What Piracy?"

Inferring that piracy is not effecting the entertainment business. To me it is really showing the opposite. How can concert sales go up 300%, album releases go up from 38,000 in 2003 to 75,000 in 2010 yet the music sales revenue go down over 50%?
spaceman 24th January 2012 08:26 PM
The Effect of Graduated Response Anti-Piracy Laws on Music Sales: Evidence from an Event Study in France by Brett Danaher, Michael Smith, Rahul Telang, Siwen Chen :: SSRN

Digital piracy is a significant problem for the creative industries. Still, while there have been many academic studies showing that piracy hurts sales, there h
oh boy... this not going to please some people here ( please don't shoot me, i'm just the messenger !)

So, this new study from Carnegie-Mellon researchers proves that the french anti-piracy law HADOPI corresponds with a precise and sudden increase of 25% in iTunes sales since it became effective. And France seems to be the only country in Europe to have seen this increase in sales. And it's the only one to have a similar anti-piracy law in Europe.

Funnily enough, if you read french you should check this article in newspaper Le Monde , where the journalists try to belie the study by saying that the real reason for this unique increase in sales in France , is due to the fact that it coincides with the fact that Apple made huge sales in France of its iPhone , and because you can buy iTunes tracks from the iPhone , people did.

I don't know a single person who buys songs directly from their iPhone.

mmm.. so does that mean that laws can ideed have an effect on piracy ?
Adrian Warren 24th January 2012 04:46 PM
Is This The Real Reason Why MegaUpload Was Shut Down? - Forbes

The internet is up in arms over the federal crackdown of file-sharing website Megaupload, from irate blog posts to coordinated digital attacks on secure government servers. The move appeared to be a sort of governmental muscle flexing in the wake of the*successful*internet protest of SOPA and PIPA. But was there [...]
Is This The Real Reason Why MegaUpload Was Shut Down? - Forbes

danceyrselfclean 23rd January 2012 11:59 AM

i have read some horror stories about artists not getting sample clearance when releasing their music (in particular the Djuma Soundsystem case) and been doing some research on the forum to try and ease my mind a little ...

here's my problem:

i make disco house/ nu-disco music using samples of mainly 80s tracks,
i have been approached by a small record label who are wanting to release an ep of my music online

they are not particularly big label but have had several releases in the past and i don't in honesty expect to make much (if any) money from the release, i am just happy for the exposure and the opportunity to expand my fanbase and get myself some gigs

the samples i have used are hard to recognise in my music (i have played my tracks to other people who would know the songs ive sampled and they didn't realise what tracks ive used) although my music uses them heavily throughout the tracks, and the samples have been cut up and looped in a way that is completely different from the originals (i have added my own drumloops, synths etc into the mix)

i know the general rule is to get sample clearance if you have sampled, but i didn't know if a lot of smaller artists and labels just generally... didnt bother

i am quite sure the record company are aware i have used samples but i feel obliged to bring this up with them, although i fear they will simply back out of releasing my ep

does anyone have any sample clearance experience or can offer me any advice??

ds11 22nd January 2012 09:40 AM
Update Your Browser | Facebook

Facebook is a social utility that connects people with friends and others who work, study and live around them. People use Facebook to keep up with friends, upload an unlimited number of photos, post links and videos, and learn more about the people they meet.
I saw in the news a while back that some YouTube star got busted for pretending to be independent while she had been signed by a major label all along.

Just noticed this other girl - 17 year old girl has an unreal voice, but also tours Japan, has great recordings and amazing video quality for someone who is "unsigned" according to her Facebook page (that has a whopping 400,000 likes btw) https://www.facebook.com/MeganNicoleSite?sk=info

Even WORSE is I'm almost positive she's signed to Universal. If you look at her site, she has TONS of covers there as well as her YouTube page. megannicolesite's Channel - YouTube And her site is extremely professional by the way. Megan Nicole Music | Official Site — Singer / Songwriter

SO I looked up about 10 of the artists (on wikipedia) that she covers and ALL of them are either signed on a label owned by Universal, or on a label like Hollywood (owned by Disney) that is distributed by Universal.

BUSTED! How often does this happen???
Empty Planet 21st January 2012 04:50 PM
U.S. Copyright Office - Frequently Asked Questions

U.S. Copyright Office is an office of public record for copyright registration and deposit of copyright material.
Completely wacky that we who visit the Music Business forum have not yet put together a stickie for those with basic (and advanced, for that matter) questions about copyright. Here's a first shot.

Please feel free to contribute useful links on basic copyright, particularly those that might expand the U.S.-centric focus presented below into a more global one, but let's see if we can keep it about copyright, and copyright only. The related business topics are too vast to try to tackle. Let's do First Things First.


Gearslutz is not a forum for lawyers, does not practice law, and does not give legal advice.
The information below is presented for education only.

  • What is copyright in the U.S. and how does it work?
  • Which form should I use?
  • What sorts of things are protected?
  • Can I do it online?
  • Does "poor man's copyright" really work?
  • What's the difference between Form PA and Form SR?
Answers to these and many, many other questions, answered in plain language and not legalese, are here:

U.S. Copyright FAQ
U.S. Copyright Office - Frequently Asked Questions

U.S. Copyright Office - Information Circulars, Factsheets, and FLs

And for those who wish to go even deeper:

U.S. Copyright main page
U.S. Copyright Office

And for those who aren't adverse to legalese:

U.S. Copyright Law, unabridged
U.S. Copyright Office - Copyright Law of the United States

This link is to a non-profit site (established by the Herb Albert Foundation) with written and video commentary from professionals who work throughout the industry, but many legal practicioners are featured — a great way to make all this info much less intimidating:
Welcome - ArtistshouseMusic

Something of the history of copyright, at least as a launching point for one's research, available here at the Wiki page:
Copyright - Wikipedia, the free encyclopedia


The above links are unfortunately U.S.-centric. I'm hopeful that fellow Gearslutz from around the world can contribute copyright links which will expand this perspective in useful ways.


Lights 21st January 2012 03:19 AM
In-store Media | Mood Media North America

Mood Media provides Internet Delivered In-Store Music, Messaging, Video, Scent and Social solutions.
Hi folks:

I received email from an artist rep from a company called Trusonic/Mood Media (In-store Media | Mood Media North America) saying that he'd listened to my music and would like to include my in their catalog, particularly the loungier/downtempo stuff.

They appear pretty legit from what I can tell of the website and I'm likely to sign on as an independent artist (he told me that they had two different contracts--one for independent artists and one typically for labels and I could choose either one). But I wanted to get a pulse from the crowd.

This is a nonexclusive licensing deal.

As an independent artist I'm always looking for avenues to get traction with my music--I'm already listed on several nonexclusive licensing services in the US and Europe (Jingle Punks, Lisn, Music Supervisor, and now the new CD Baby licensing offering). And this one seems unique as they license to retailers for store ambiance, etc. This makes sense I guess for my music as I often hear similar music from artists like Zero 7, Morcheeba, Telepopmusik, etc. played in trendier retailers.

chrisso 20th January 2012 10:29 AM
Behind the music: What if the culture industry shut down for a day? | Music | guardian.co.uk

Helienne Lindvall: Wikipedia went black in protest against anti-piracy legislation. But which would you miss more: an encyclopaedia or music?
Written by a songwriter:
Behind the music: What if the culture industry shut down for a day? | Music | guardian.co.uk
Jack P 19th January 2012 08:50 PM
Megaupload shut down by US officials - Tech News - Digital Spy

The file-sharing site's founders are charged with violating piracy laws.
Megaupload shut down by US officials - Tech News - Digital Spy
chrisso 19th January 2012 12:47 AM
Big Day Out pulls out of NZ - Entertainment - ABC News (Australian Broadcasting Corporation)

Changing musical tastes and tough economic times are driving the Big Day Out's demise in New Zealand, music promoters and commentators say.
They keep telling me.

Big Day Out pulls out of NZ - Entertainment (Australian Broadcasting Corporation)

Organisers of the New Zealand leg of the trans-Tasman festival, which has been a staple event for music fans since 1994, announced this Friday's event would be the last because it is no longer financially viable.

The editor of New Zealand music magazine Rip It Up, Leonie Hayden, told AAP that festival-goers were not willing to pay big bucks for tickets.

anna_britbass88 17th January 2012 12:27 AM
The Police - Dead End Job - YouTube

Hey, some of us aren't full time prods/engineys/or floppers (musicians)

Got a dead end job? ... share! I ****ing HATE my bloody dead end job!

...and don't you even f-ing post in this thread until you listen to that link!

rack gear 14th January 2012 03:18 PM

fascinating insights in this paper:
Loser Generated Content: From Participation to Exploitation | Petersen | First Monday
rack gear 5th January 2012 10:26 PM
Digital Music News - Two-Thirds of All Albums Purchased In the US Are Still CDs...

this is a funny response to CD's still accounting for two thirds of album sales.... uhmm Jeff... maybe check the trades before posting...

but then again, CNN says this...
Digital music sales top physical sales - Jan. 5, 2012

Nothing like End Of Year/New Year competing stats!
mindseye 5th January 2012 04:28 PM
US music sales increased in 2011

US music sales increased last year for the first time since 2004, according to figures released by Nielsen Soundscan.
BBC News - US music sales up for first time since 2004
The Press Desk 4th January 2012 11:43 PM
Sync Licensing & Working With Brands - The Association of Independent Music

If you want to get your tracks on TV shows, adverts, films and video games, or if you want to work with brands to leverage the profile of your artists and generate revenue, this event will look in depth at exactly how these areas of business work.
AIM’s annual sync licensing master class is to return to London on 24th January 2012, and looks set to be a sell-out event, with almost 200 independent label managers, artists and music industry figures booked to attend. The last few tickets are now available via Sync Licensing & Working With Brands - The Association of Independent Music.

With a host of top industry figures from the worlds of TV, film, advertising and games lined up to speak, AIM’s third ‘Sync Licensing & Working With Brands’ conference will provide unrivalled insight into this increasingly important revenue stream, and excellent networking opportunities. Delegates will also have the opportunity to have their tracks listened to by the music supervisors and sync industry experts speaking on the evening.

The event will open with a presentation from music, entertainment and lifestyle marketing agency FRUKT Communications. Sharing their experience in bringing music and brands together, the presentation will detail how independent labels and artists can seek out and make a success of brand partnerships, driving revenue and fan engagement.

A panel discussion on synchronisation licensing will follow the presentation, exploring how to get independent music on TV, adverts, film and video games.

Panelists confirmed include:

Amelia Hartley, Endemol (Head of Music)
Nick Nash, A&G Sync (Head of Sync, UK & International)
Vicki Williams, Vertigo Films
Kle Savidge, Independent Music Supervisor, film (An Education, Run Fatboy Run)
Dave Philpot, Sync Inc / Skint Records
Sergio Pimentel, Nimrod Productions (Music Licensing Director)

The panel, chaired by Simon Goffe of Brownswood Recordings, will then take part in a listening session, with 10 tracks played and discussed from those submitted by audience members. Panelists will consider the sync suitability of the tracks and offer general advice to the labels on syncing the tracks. The evening will end with networking drinks, giving attendees the chance to meet the speakers.

The event will be held from 6-10pm on 24th January 2012 at Deloitte LLP theatre
2 New Street Square, London, EC4A 3BZ

Tickets for this event are now available from Sync Licensing & Working With Brands - The Association of Independent Music.

The event is open to non-members. Places are highly restricted.

Tickets are £21 (inc VAT) for AIM members, £54 (inc VAT) for non-members. Refreshments are included in the ticket price.

MPG members can take advantage of a 20% discount - details here
dickyrader 27th December 2011 07:42 PM
| Welcome To The Music Business Registry |

The Music Business Registry
I am looking at contacting some publishers so I can send some of my demos out to. I'm finding it really hard to get the right contact info for these people. I found two sites with what they call "Music Business Directories." I like the one over at | Welcome To The Music Business Registry | called the Music Publisher Registry. It looks like a great piece of information. I was wondering if anyone has had any experience using this or have purchased it before. It is currently $75. Wanted to know if it is worth the money. Thanks
rack gear 27th December 2011 05:33 PM
New MySpace "Unleashes World's Largest (100% FREE) Online Music Library" - hypebot

As reported yesterday, MySpace has finally begun its makeover with an emphasis on music and the launch of a new player that combines free listening, discovery and sharing with personalized radio and Facebook integration The company says beta testing showed the new player driving engagement beyond the 1 hour mark to more than 20 songs and resulting in a 10% lift in average music streams per person. Under a headline that must have been written by new MySpace owner Specific Media's ad department - "Myspace Unleashes World's Largest Online Music Library to Fans Everywhere with New Music Player" - the...
New MySpace "Unleashes World's Largest (100% FREE) Online Music Library" - hypebot


scarlettslaney 18th December 2011 01:08 PM
Please could you take 30 seconds of your time to complete my survey?

Revenue Streams for Artists and Bands in Today's File-Sharing Music Industry Survey

Its for my dissertation to establish whether file-sharing is having a positive or negative effect on the music industry.

Thank you xx
thecastleremains 18th December 2011 12:06 PM
Ok, I’m trying to get my head around this...... take a deep breath lol

(a) I’m registered with PRS only.

(b) I sell my music on various small independent retailers which say on their website, they take 8% off the retail price per track, as they give it to MCPS (because this retailer has obviously got a license with MCPS)

(c) I then read here Joint Online Licence (JOL)

(d) So, of this 8% that’s deducted per track, PRS will get 25%, and MCPS gets 75%

My very simple question is……..... "What happens to the 75% if you dont have a publisher, and your not registered with MCPS?

The reason why i'm asking this on here, is because I posed this question to PRSforMusic, by phone and email, but no-one there knows the answer, keeps avoiding the question, or just plain 'wont answer me

It's got me paranoid, into thinking there's some kind of deviance. Any new retailer offering downloads is, at some point, approached by MCPS at some point, and MCPS will tell them something like “If you join us, we promise to give 8% of the download to PRsforMusic members, and we only keep 12% commission”.

But this is misleading. MCPS will probably be keeping that 75% "if your not a member of MCPS", which they don’t tell any PRS member about. I myself have phoned up PRSforMusic numerous times with questions about joining MCPS, but every-time I ask questions, the staff try and persuade me 'not' to join, as they say it's not worth it tutttutt

So, I guess…… if this is true? then the best course of action, is to join both PRS ‘and’ MCPS, to make sure your getting all of that 8% (minus their 12% commission)

Hope someone, with more knowledge on PRS and MCPS, can provide clarity on the 8% situation, as every single penny counts when you’re a struggling musician
rack gear 15th December 2011 05:38 PM
Digital Music News - Black Keys: "For a Band That Makes a Living Selling Music, Streaming Isn't Feasible..."

insightful comments from the black keys... this isn't that "record labels don't know how to adapt and evolve" its that the economics are simply unfair and unsustainable.
Don Hills 14th December 2011 01:50 AM
New music service courts tech-averse listeners | Stuff.co.nz

A simple new online music service will launch across Europe and North America this week aimed at the millions who like music but struggle with the technology to find and listen to it.
New music service courts tech-averse listeners | Stuff.co.nz

Charlie Zann 12th December 2011 12:31 AM
What do you think guys? It's exciting. But does it really work for everyone? Or just established artists?

This is an extract of a Trent Reznor video interview.

interviewer : What advice do you have for up and coming bands who choose the internet for distribution over traditional channels?

T.Reznor: “Try to identify what you are trying to do and how do you see yourself. If you see yourself as an american idol-esque mainstream artist, you’ll need a record label to pull that off. You’ll need their bank account, marketing power and permutation into the market. I would do what I did before (in the 90?s). Find the right way to appeal to those entities and groom yourself to be like what they want. If you want to do something unique and innovative, and you don’t sound like what’s on the radio and you don’t want to be the pussycat dolls, then you don’t want to be part of a major label. What they want to do is getting a revenue off you, and that is going to be put first, not your vision.”

other extract:

T.Reznor: “The huge barrier of distribution which used to be physical distribution is almost gone. Everybody is a broadcaster, blogger or publicist. The greatest thing about the Internet is that everybody is their own distributor. The advise I can give you is, make the best thing you can and present it. Have a website and cool videos, because they virally spread wherever.”

interviewer : Can you make money on itunes?

T.Reznor: Not that I’ve seen personally. No.

So, is this model adequate for everyone? Not for newbies I guess.

source : trademarkpeople
petermichael 11th December 2011 07:16 AM

I happen to think that the Billboard top song, album and artist all going this year to Adele is a good thing. An artist who clearly has gotten where she is without tabloid writ or mass naughty sex appeal (not taking away from how lovely she is). I am pleased with this, and although I don't see it as irrefutable proof that the music industry is healing, I see it as a sign of hope.

Please correct as appropriate.
skythemusic 2nd December 2011 08:17 PM
On Why Jazz Isn’t Cool Anymore | Nicholas Payton

Jazz died in 1959. There maybe cool individuals who say they play Jazz, but ain’t shit cool about Jazz as a whole. Jazz died when cool stopped being hip. Jazz was a limited idea to begin with. Jazz is a … Continue reading →
On Why Jazz Isn’t Cool Anymore . . . . | Nicholas Payton

I found this interesting....
new resolution 30th November 2011 07:32 AM
Update Your Browser | Facebook

Facebook is a social utility that connects people with friends and others who work, study and live around them. People use Facebook to keep up with friends, upload an unlimited number of photos, post links and videos, and learn more about the people they meet.
Hey hey...I've played in bands for several years now & I'm recording and writing on my own at the moment. I figured I'd post a link to some demos & see if anyone would be interested in co-writing and/or have any input/feedback on getting into the publishing game. Any help would be appreciated, thanks & hope everyone is doing awesome!


- Don Ross
Solar 17th November 2011 04:54 PM
Google Play for Artists: Sell your original music

Go direct to fans and distribute your own albums through Google Play. Build your store page, set your retail prices, sell your original songs.
Here go fellas!

Google Music for Artists – Google


It's available NOW. Create your artist Account & Share/Sell your music
JustinMac 16th November 2011 03:47 PM

Hey guys,

My band Waverland landed a placement on a nationally televised commercial for GM Buick, where our instrumental played for the entire 60 seconds of the commercial. It actually aired during the final four this year and people said they see it all the time on ESPN since then... check it out below:

Buick "What Matters" | Luxury Sport Sedan | Commercial - YouTube

My question is... does anyone have any idea about the royalties for something like this, and what to expect? We got a nice "lease" down payment for the song, and they said we will also collect royalties for each play, but it was released back in April and we haven't seen anything come our way yet (it does shows up on our ASCAP however) and we have no idea how much to expect... we plan on spending some cash for another CD soon, so if anyone has an idea then I'd really appreciate any estimates on what other people have received for something that sounds similar.



Waverland | Facebook
sventvkg 13th November 2011 09:32 PM
Why Universal Music Sued Its Insurer Over a $14.4 Million Payment to Musicians (Analysis) - Hollywood Reporter

We wonder if anybody will ever remake Double Indemnity, except this time featuring a record label that purchases an insurance policy that pays off handsomely should a songwriter be murdered on royalty issues. This one's got potential. Check out a lawsuit filed this week by Universal Music Group against one of its insurers.
Why Universal Music Sued Its Insurer Over a $14.4 Million Payment to Musicians (Analysis) - Hollywood Reporter

In the age of disclosure and the internet there's no getting away with your criminality anymore. This is why labels are hated. Plain and simple.
rack gear 12th November 2011 12:56 AM
Google Music launching without Sony and Warner | Media Maverick - CNET News

Google Music lines up Universal Music Group, the largest record company, for new download store. But it hasn't obtained agreements from Sony and Warner. Read this blog post by Greg Sandoval on Media Maverick.
Google Music launching without Sony and Warner | Media Maverick - CNET News
rack gear 11th November 2011 05:19 PM
Digital Music News - SOLD: Citigroup Unloads Both EMI Units; $4.1 Billion...

EMI Records and Catalog to UMG

EMI Publishing and Catalog to SONY/ATV

Three Major Labels...
soulstudios 10th November 2011 10:07 PM
CD-format to be abandoned by major labels by the end of 2012 - Industrial Music free links at SIDE-LINE.COM

Industrial Music news : You read it well. The major labels plan to abandon the CD-format by the end of 2012 (or even earlier) and replace it with download/stream only releases via iTunes and related music services. Full details on this Industrial Music news item after the jump.
CD-format to be abandoned by major labels by the end of 2012 - Industrial Music Facebook news at SIDE-LINE.COM

See update at end.
terryhart 7th November 2011 08:48 PM
Fingertips essay: The "Social Music" Fallacy | Fingertips Music

I was listening to an album on Spotify the other day when I heard an ad between tracks that was promoting Spotify itself, focused on how social the service
Provocative article from Fingertipsmusic:

Fingertips essay: The "Social Music" Fallacy | Fingertips Music

Music is made to be shared? No, it isn’t. Unless you happen to run a large, international social media company. In which case, everything is made to be shared. As the old saying goes: To a man with a hammer, everything looks like a nail.

Don Hills 6th November 2011 10:24 PM
BBM Music is here for BlackBerry smartphones! «Inside BlackBerry - The Official BlackBerry Blog

BBM Music is finally here, available in Canada and the United States!
Stream / download up to 50 tracks to your Blackberry, share with your friends, and stream / download their tracks too...

BBM Music is here for BlackBerry smartphones!
Boba FET 5th November 2011 08:55 PM
This seems to be worth a look:

TuneCore - Get Your Unpaid Songwriter Money
rack gear 2nd November 2011 06:53 PM
Digital Music News - Then, This: Coldplay Just Sold 447,000 Albums In the US...

Coldplay denies streaming sites access to it's new album, sells more records. In Hollywood this is called "Windowing" a release by giving transactional outlets priority over subscriptions and other lower ROI models.
tomlee 28th October 2011 12:07 PM
When bands fall off cliffs | Music | The Guardian

You sell a couple million albums. You're adored. Then 90% of your fanbase deserts you – and your record label isn't far behind. Rob Fitzpatrick investigates band collapse syndrome
When bands fall off cliffs | Music | The Guardian

In March 2005, Kaiser Chiefs released their first album, Employment. It had been preceded by a single, Oh My God, which had reached No 6 and was, in 2007, covered by Mark Ronson and Lily Allen on Ronson's debut album, Version. NME ranked it the 36th "greatest indie anthem ever", a decision that had presumably at one point not sounded quite so much like damning with the very faintest of praise. Another single, I Predict a Riot, followed the album's release and soon became the band's anthem. They won an Ivor Novello award for best album in 2006, and three Brit awards the same year (for best British band, best rock act and best new artist). To date, Employment has sold 2m copies. Its follow-up, Yours Truly, Angry Mob, was released in February 2007 and included their No 1 hit Ruby. That album sold 800,000, a 55% drop in sales. A further 18 months on, the band released their third album, Off With Their Heads, which has, to date, sold 200,000 copies, a 75% drop from album two and a 90% drop from album one. Album four, The Future Is Medieval, debuted on the band's website this summer. On its physical release it reached No 10, and stayed on the chart for just five weeks.

"It's odd to think of 800,000 sales, or even 200,000, as failure," says one industry insider who asked to remain anonymous, "but Kaiser Chiefs' sales numbers marked them out as a band in a downward spiral, and that's very, very hard to get out of. As with everything else in life, people like to support success." If success has many parents, failure is an orphan.

Take another case. Duffy's debut album, 2008's Rockferry, sold 2.2m copies in the UK, but it wasn't only her spectacularly misjudged advert for Diet Coke in 2009 that meant the follow-up, 2010's Endlessly, shed 90% of her audience to sell only 200,000 copies.

"Duffy is an interesting case," a music industry lawyer says, "because her story applies to a lot of artists. Buoyed by success, they immediately think, 'Why am I giving 6% of record royalties, a third of my publishing and a 20% management commission to other people? I am a genius! I will do it myself!' [Duffy parted company with her manager, Rough Trade's Jeanette Lee, and with Bernard Butler who produced Rockferry, and co-wrote and played on much of it] And then make a bad record without any guidance from professionals. And then they wonder why it's all gone wrong."

And go wrong it does. Glasvegas debuted with an album that went platinum in the UK – the award for selling more than 300,000 copies. NME said the band would define the end of the decade. Bono called It's My Own Cheating Heart That Makes Me Cry "one of the best songs I've ever heard". Despite the praise, their follow-up, Euphoric Heartbreak, an album NME gave nine out of 10 stars (which means it is, in that magazine's opinion, one of the very best albums of 2011), has sold just 30,000 since it came out this April, a fall of 90%. Columbia Records dropped them within weeks of its release.

In October 2007, when MGMT arrived with their debut album, Oracular Spectacular, they made enough of an impact to sell half a million copies in the UK alone. Their Wikipedia page trumpets that the band's follow-up, 2010's Congratulations, sold 66,000 copies in its first week ("the best sales week ever for the group"). What the site doesn't mention is that in the 18 months since, the album has only sold another 11,000 copies. And then there's the indie-rave band Klaxons, winner of the Mercury prize, who shifted 350,000 copies of 2007's Myths of the Near Future, but have sold just 30,000 of album two, Surfing the Void, meaning 92% of their fanbase have decided that, on reflection, they only really need one Klaxons record.

What does it feel like to experience that level of desertion? What does it feel like when the phone stops ringing? None of the bands I've mentioned above would discuss it, understandably enough: admitting a failure is tantamount in the eyes of the music industry to condemning yourself for ever.

"Well, I'll tell you precisely what it feels like," says one major label A&R man. "It feels shit. But the second album by every single band I've ever signed has flopped miserably, and no one really understands why. When you sign a band, everyone at the label is very excited, but as soon as it starts going wrong every bastard runs to the hills and the A&R man is the only one left." Sometimes, the bands are the last ones to realise. Earlier this year, the Hoosiers told Film&Music how pleased they had been at first when their comeback single, after two years away, reached No 11 in the charts. Until they noticed the reaction at their record company: "We were 11 in the mid-weeks, and pushing on No 10," said their drummer, Al Sharland, and "there was a lot of tension in the record company, with people going, 'Oh, if it's a 10 it's easier to promote as a success.' It's all bollocks, really, and it shouldn't make any difference. But it does, apparently."

But do the labels feel as bad as the bands?

"Not really," the A&R man says. "The truth is, labels don't give a shit about the next record; they only want to squeeze the pips out of this one – although this is a complex industry, so sometimes it works the other way. When Paolo Nutini took his last album into [his label] Warners, I know for a fact that everyone went, 'Oh my God …', thinking it was a bloody disaster. But it sold like ****."

"A flop can be a rite of passage," says Tony Wadsworth, who was chairman and CEO of EMI Music from 1998 to 2008. "The curse of album two nearly finished Blur, but it ended up putting lead in their pencil. Modern Life Is Rubbish marked a huge drop in sales. They had invented this new world, and it took until Parklife for people to understand what they were doing. Sometimes you can edge too far ahead of your audience, and then you have to hope you don't lose them."

But what if you do lose 90% of them? "Then you assess what it is you're doing," Wadsworth says. "You regroup and start hustling again, but it's crucial that you believe in your own creative processes. Don't put all your best songs on the first album; Dylan and the Beatles always held stuff back. And don't scare people off. Every one of Coldplay's albums has sold more than the last – that's very unusual. They always progressed, but always kept an essence of who they were in the new songs they wrote. That meant radio always supported them, which is crucial."

"Radio is still it," agrees Feargal Sharkey, the former Undertones singer who now heads UK Music, an umbrella organisation representing the UK's commercial music industry. "If you have no support from radio, you're finished. You can recover from this situation, but you're aware the next big thing is always more exciting than last week's big thing."

Singer-songwriter David Gray was the opposite of the next big thing when he released his White Ladder album in 2000. Gray's fourth record was expected to sell in similarly modest proportions to the previous three. But a groundswell started by the second single, Babylon, eventually drove sales over the 7m mark.

"What helped me is that I'd been making music for a while when the success came," he says over the phone from Italy, where he is on holiday with his family. "I could handle it better. But the period after the success is always very difficult. If Radio 1 or Radio 2 don't playlist your record, it has a profound impact on your sales. When the BBC decided to play Babylon, all hell broke loose, but if you don't keep that up then you end up back in the Borderline – and when you've got used to the Hammersmith Apollo, that can be very depressing."

What did that journey upwards through success feel like?

"Oh, it's amazingly exhilarating," he says with a laugh. "But success like that blows your compass completely, it's so heavy, so all-enveloping. You do begin to think that perhaps you are God's gift. I spent three years touring White Ladder, but when the festivals and the champagne and the private planes suddenly stop, when reality kicks in again, the shock is numbing."

More recently, Gray cheerfully admits, his sales figures have "drastically reduced". Where once he might sell 1m copies, he'll now sell 200,000. His latest album (the live set Lost and Found) was digitally released for its first week exclusively through Groupon. The deal-of-the-day site emailed a link to half a million subscribers – "We have a very similar demographic, apparently" – and there was around a 1.5% take up.

"That's between 5,000 and 10,000 copies sold," he says. "Is that a success or a miserable failure? I've been working a lot in America over the last few years and it's extremely hard work selling any records at all. The figures have become pitifully small. The industry is on its knees."

Gray is undoubtedly right, but the industry's insatiable desire for greatness remains. Leonard Cohen's son Adam has had more record deals than most. His first, with Sony in 1998, included a $300,000 (£190,000) publishing advance and was signed off by a bigwig who claimed not to know who Cohen Jr was a few days later. His excellent new record, Like a Man, is out on Cooking Vinyl in the UK and EMI in North America, a label he's previously been dropped by.

"Last night I had my record release party," he says on the phone from Toronto. "And all the same people, all the same executives, came out in support again, like none of it had ever happened. But remember: record companies can be callous and nefarious beasts."

Wadsworth, now happily out of the game, has some final advice for everyone. "At some point, everyone stops selling records. Unfortunately, some bands get to that point a lot quicker than others."

rack gear 27th October 2011 07:53 PM
and for good reason, expect more to do the same...

Coldplay Refuses to License Its Latest Album to Spotify... - Digital Music News

major bands with artists approvals should be requiring substantial advances, just like Netflix is now having to pay advances for major movies.
Empressto 27th October 2011 12:26 PM

This is a new song Empressto-Take 03[Original mix] - YouTube

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